#to grow up knowing about that part of my culture but

[gogandmagog]

Guys! Yesterday I had a book-shaped piece of mail, and inside of it was my copy of Children and Childhoods in L.M. Montgomery: Continuing Conversations being returned, from another very dear user here! I bring this up only because some-months-ago I promised to copy out a particular article from this book, for yet another user here, who was interested! Interested because it’s on the the subject of a Fan Favourite thing... fan fiction. And better still because some of our (basically famous) mutuals here are mentioned by name! If you’ve ever wondered if the Montgomery scholarship is reading your fan fiction... the answer is yes, they are! They totally are. More than that, they also have some thoughts to share… as well as recommendations of their faves too! This article even covers the F/F and M/M fan fiction presented by fans in LMM’s universe, and I’m personally super excited to be able to begin reading these works, as soon as I can find them all. I’ve done my best to link what I could immediately find, but some of the mentioned stories were unavailable... potentially due to changes in usernames? (That said... if anyone knows of the works indicated here, that I haven’t provided a link for, please do share!)   This article, by the way, was written recently... in 2020! It’s very current, and it covers a few stories that were still being actively updated during the pandemic. The focus of this article is less so on canon (or really just the Anne/Gilbert pairing), though, and seems to prefer demonstrating the versatility of mixing relationships (Anne and Emily, for one!) and the wider more general universe-building aspects (the entanglements of future generations/Anne’s grandchildren) that fans have been expounding on for nothing less than decades. 

Okay, here we go! xx

Continuing Stories: L.M. Montgomery and Fanfiction in the Digital Era by Balaka Basu

Fanfiction – the recreational (re)writing of texts – is a literary genre of rapidly growing significance. Abigail Derecho in her brief history of fanfiction identifies it as “a genre that has a long history of appealing to women and minorities, minorities, individuals on the cultural margins who used archontic writing as a means to express not only their narrative creativity, but their criticisms of social and political inequities as well.”

Insightfully defined by Francesca Coppa and Mary Ellen Curtin as “speculative fiction about character,” fanfiction can be even more precisely understood as fantasies about the diegetic positioning of characters in the context of various settings, communities, relationships both textual and paratextual, and eventually all manner of cultural mythologies.

Kristina Busse and Karen Hellekson describe the production of fanfiction as “part collaboration and part response to not only the source text, but also the cultural context within and outside the fannish community in which it is produced.”

They point out that the shift in the method of dissemination of fanfiction from newsletters and zines to internet archives means that “ever-younger fans who previously would not have had access to the fannish culture except through their parents can now enter the fan space effortlessly; financial resources have become less of a concern because access to a computer is the only prerequisite; and national boundaries and time zones have ceased to limit fannish interaction.”

The nature of fanfiction allows participants to cross-generational and socio-economic boundaries in an ongoing exchange of responses to a source text with which they share a fascination, developing new texts that in turn elicit their own responses. While the creation of fanfiction is evidence of an affective, loving, communal relationship with the source text, this genre of writing is still dismissed in many quarters as overly emotional, purely erotic, and even perverse, a type of amateur and immature engagement with popular texts that produces writing necessarily divorced from literary significance. Produced in staggeringly vast quantities by subcultures with complex vocabularies and traditions that can intimidate the casual reader, fanfiction is perceived by many to be more of a cultural practice than a literary genre, variously denigrated for its pornographic potential and its lack of originality. However, close examination reveals that fan writers are able to create a critical dialogue with the originating author in acts of communal storytelling that incorporate allusions and reference points to which other dedicated fan readers and writers may respond.

In this chapter, after examining how L.M. Montgomery and her writer heroine Emily themselves engage in practices now associated with fanfiction, I survey four forms of fanfiction that remove Montgomery’s novels from her seemingly idyllic and timeless island settings, contextualizing her characters and plots within history and other genres: the sequel set during the Second World War, the modern AU (alternate universe), the gap-filler, and the slash fic, all of which allow the young readers who grow up with her novels to engage in dialogue with the stories they love, a type of literary conversation that Montgomery herself models within her texts. Emily’s reading, which is active rather than passive, resembles twenty-first-century fans’ ownership of the texts they love, provoking creative responses. For instance, after reading works by Lord Tennyson, Elizabeth Barrett Browning, and Matthew Arnold, Emily writes, “Teddy lent me 3 books of poetry. One of them was Tennyson and I have learned The Bugle Song off by heart so I will always have it. One was Mrs. Browning. She is lovely. I would like to meet her. I suppose I will when I die but that may be a long time away. The other was just one poem called Sohrab and Rustum. After I went to bed I cried over it. Aunt Elizabeth said ‘what are you sniffling about?’ I wasn’t sniffling – I was weeping sore … I couldn’t go to sleep until I had thought out a different end for it – a happy one.”

The reactions Emily catalogues are those of the fan; they are viscerally felt in the body and attempt to dissolve the boundary between author and reader, producer and consumer. She inscribes Tennyson within her heart in order to possess the poem she loves; she creates a relationship between Barrett Browning and herself; and, most significantly, she interjects her own desired happy ending into Arnold’s tragic narrative, a corrective desire that is at the core of many works of fanfiction. Emily’s diaries and her story reflect Montgomery’s own experiences from childhood to adulthood as reader, writer, and reader-turned-writer discussed in the introduction to this volume. Depicting Emily as a voracious reader and a life-writer like herself, Montgomery places the child Emily’s voice in conversation with that of the narrator through Emily’s letters to her dead father in Emily of New Moon and through her diary entries in Emily Climbs and Emily’s Quest, creating a form of joint authorship that is referenced explicitly in “Salad Days,” the second chapter of Emily Climbs: “book is not going to be wholly, or even mainly, made up of extracts from Emily’s diary; but, by way of linking up matters unimportant enough for a chapter in themselves, and yet necessary for a proper understanding of her personality and environment, I am going to include some more of them. Besides, when one has material ready to hand, why not use it?”

The narrator’s willingness to use the “material” that is “ready to hand” reflects Montgomery’s and Emily’s practices, and also validates other writers’ use of the material Montgomery places at their disposal. As with many fans, Emily’s reading frequently makes itself felt within her writing.

Like Montgomery, Emily learns her trade through mimicry, from her first poem in blank verse inspired by James Thomson’s Seasons to her unwitting imitation of Kipling that is pointed out by her teacher, Mr Carpenter, in his review of her work. Like Sara Stanley of The Story Girl, whose compelling and fascinating stories are rarely if ever original, Emily is a fan of the oral traditions of her community, incorporating and building upon them in her own writing, transforming and recreating, for instance, the story of “The Woman Who Spanked the King” in Emily Climbs.

The retelling and versioning that Emily practises signal her immense admiration for the source texts she adapts, just as the creation of fanfiction does for Montgomery’s readership and fans. The possibilities inherent in versioning and adaptation are illustrated in Emily’s Quest. When Montgomery depicts Emily undertaking the reworking of someone else’s narrative, she is adapting an episode from her own experience while working for The Echo in Halifax, which she records in her journal. Montgomery, like Emily, was asked to create an ending for a serialized story, “A Royal Betrothal,” after compositors had misplaced the original text.

Like Emily, she claims that her “knowledge of royal love affairs [was] limited,” and that she was unaccustomed “to write with flippant levity of kings and queens.” Nevertheless, Montgomery manages to create a conclusion that passes muster, since “as yet nobody has guessed where the ‘seam’ comes in.” She is, however, curious about the original author’s reaction to her unauthorized adaptation, and while she never discovers this in real life, she does imagine it in her fiction when she introduces Mark Greaves, who is horrified by Emily’s new ending for the story but enchanted by its author. Neither Montgomery nor Emily engages in this sort of writing from a place of fandom; they have no previous attachment to “A Royal Betrothal,” and both are writing professionally. Nevertheless, the ability to solve the puzzle of the story and the weaving of their work into an already extant text are the very project of fanfiction: ludic narrative composition that recalls the way children play make-believe with the narratives they love, reworking and extending them. It is telling that Montgomery uses the metaphor of the “seam” to describe this particular craft. Jane Dawkins, writing about her fanfiction, which is inspired by Jane Austen, describes her fan novel Letters from Pemberley as “an old-fashioned patchwork quilt, where in place of the scraps of fabric reminding one of the favorite frocks or shirts whence they came, there is a line or a phrase or a sentence from one of [the original] books or letters stitched alongside the lesser scraps of my own manufacture.”

Montgomery’s final book, framed by the two world wars, is just such a patchwork sequel, albeit providing only brief glimpses of the characters that readers met as children and who have now grown older. When a version of the book was published in 1974 as The Road to Yesterday, these glimpses, lacking the interstitial materials, became even briefer, mirroring the more forced insertion of beloved characters that the two earlier collections, Chronicles of Avonlea and Further Chronicles of Avonlea, display. Only two of Anne’s grandchildren – Gilbert Ford and Walter Blythe – are obliquely referred to, in the story “A Commonplace Woman,” where an unpleasant young doctor reflects on both of them as potential rivals for the affection of a beautiful girl he himself hopes to pursue.

However, the full novel, The Blythes Are Quoted, published in 2009 and comprised of short stories about the people in Glen St Mary and over the harbour, is interspersed with poetry by both a young Walter and an adult Anne. The poems are cut with tiny slices of dialogue that suggest the continuing lives of fans’ favourite characters and how they might have developed. In “‘Dragged at Anne’s Chariot Wheels’: L.M. Montgomery and the Sequels to Anne of Green Gables,” Carole Gerson notes the mixture of feelings from pleasure to frustration that Montgomery records in her journals as she prepares to write her first sequel.

While Montgomery wrote the first installments of her various series out of inspiration, she was certainly aware of what her market desired from subsequent installments. She often regretted the necessity of marrying off her characters, but was aware that her fans demanded this conventional outcome for the characters they had come to love; these traditionally romantic endings, when not offered by Montgomery herself at the instigation of her publishers, are regularly deployed by contemporary fanfiction authors building on the source texts.

Indeed, long before the original structure of The Blythes Are Quoted was revealed to readers in Benjamin Lefebvre’s afterword, fanfiction writers were spinning off lengthy narratives that included a third generation of young Blythes, Fords, and Merediths dealing with the onslaught of the Second World War. While earlier installments in the Anne series – such as Anne of Green Gables and Anne’s House of Dreams – depict the deaths of Matthew, Anne and Gilbert’s first daughter (Joyce), and Captain Jim, Walter’s death in Rilla of Ingleside is somehow more striking. Unlike Matthew and Captain Jim, he has not yet had time to grow old; unlike Joyce, readers have had opportunities to get to know him as a child in Rainbow Valley and as he grows into young adulthood in Rilla of Ingleside. His death is unnatural and, therefore, all the more horrifying. These two aspects of Rilla of Ingleside – the evocation of history by a nostalgic fictional world that is still tied to real time and the use of high drama, tragedy, and romance – provide fanfiction authors with a model they can use to appeal to the emotions of those readers who are immersed in the next generation of Montgomery characters.

The Second World War, then, provides an entry point into the series for fanfiction authors, who can deploy real history coupled with beloved characters to create a tale that feels absolutely authentic. One example of this is a short story, “The Pen and the Sword,” written in 2007 by MarnaNightingale. Here, mimicking the style of Dorothy L. Sayers’s The Wimsey Papers (a series of Spectator articles published between 1939 and 1940, which interestingly also continue the story of First World War–era characters during the Second World War), MarnaNightingale employs epistolary excerpts and newspaper articles to tell the story of a family going through the horrors of war for a second time. Grounding her fragmented story – like The Blythes Are Quoted, a mixture of genres – in the accounts of novelist Mollie Panter-Downes (1939) and war correspondents Ernie Pyle (1940) and Ross Munro of the Canadian Press (1941), whose articles are attributed to Kenneth Ford, she offers a story that, like Rilla of Ingleside, is anchored to the historical moment, while also nostalgically focusing on the character development that comes from Gilbert Ford’s death, Rilla’s and Faith’s reactions to the war, and the lives of their children. Here war also serves as an opportunity for new experiences, particularly for women and children: Rilla takes a factory job as a machinist, liking it better than working in Carter Flagg’s store; one of Anne’s grandchildren, Susan, plans to be a doctor; and Faith, who worked as a Voluntary Aid Detachment nurse in the First World War, mentions how she can sympathize. As well, the daily tidbits that flavour the pages of Rilla of Ingleside are there: one article, attributed to Anne, includes the recipe for Susan Baker’s war bread, reminding readers of the problems of wartime rationing, even in the Americas. Real life events – like the Canadian forces trying (and failing) to make a beachhead at Dieppe – arouse the passions of the reader. Unlike Austen – who also famously wrote of three or four families in a country town, but kept the Napoleonic wars firmly in the shadows – Montgomery brings the passions and high drama of the world stage into the sleepy villages of Prince Edward Island, which inspire fanfiction spinoffs.

The long novel Cecilia of Red Apple Farm, by a fan author who posts under the pseudonym ruby gillis, also directly reworks passages and scenes from the whole range of Anne books, set in the late-nineteenth century, to The Blythes Are Quoted, set in the early years of the Second World War, to highlight the similarity between her new generation of characters and their ancestors. Cecilia is the daughter of Una Meredith and Shirley Blythe (characters often married off in fanfiction). Like MarnaNightingale, ruby gillis provides period flavouring in the styles of dresses and behaviour and in references to 1940s popular films and songs. Simultaneously, this setting offers new opportunities to her female character: Cecilia wants to be a doctor, and rather than staying in Canada, she joins up to be a nurse in England. She has a series of romances – one with Sid Gardiner (before he marries May Binnie), and one with her cousin Blythe Meredith, who is this generation’s poet – before finally ending up with Marshall Douglas (the son of Mary Vance). Just as Anne initially refuses Gilbert Blythe in favour of Roy Gardner’s resemblance to her ideal man in Anne of the Island, ruby gillis’s Cecilia is fooled by the allure of Sid and Blythe as Roy Gardner–like romantic heroes into believing that she does not truly love her fun, practical, “Gilbert-esque” friend. Published in 2004, Cecilia of Red Apple Farm further illustrates the opportunities presented by reusing and reworking a body of texts through its incorporation of Montgomery’s poem “I Wish You” as the work of Blythe Meredith. Montgomery includes this poem and attributes it to Anne in The Blythes Are Quoted, although ruby gillis could not have known this when writing. The repetition of names and circumstances might seem derivative, but for readers who have read and reread the original books so many times, the extension of the story world is prized, even if – perhaps even because of – its callbacks to the original text. Due to the tendency of fans to fixate on “the good bits” in a reread, these parts can be taken for the whole.

Austen fanfiction demonstrates this aptly. Indeed, Helen Fielding’s second Bridget Jones novel, Bridget Jones and the Edge of Reason (1999), illustrates just such a reading of Pride and Prejudice: she shows Bridget, a fan, watching the scene from the 1995 mini-series in which Darcy, dripping in a wet see-through shirt, exits the lake, and then rewinding and rewatching the scene multiple times. How many times might a similar fan reread Walter’s letter from Courcelette? This repeated reviewing of selected portions can replace the amplitude of the original novel. With this delimited focus, narrative is no longer seen as a progression, but as a single moment of pleasure, sustained as long as possible. Reading the Second World War as a repetitive sequel to the First World War further highlights this possibility.

Even Montgomery seems to do so, as demonstrated in The Blythes Are Quoted, with its new generation of characters confusingly named after the old: Walter, Jem, Rilla, Di, Anne, and Gilbert. A variation on Marah Gubar’s kinship model, this kind of continuation highlights the blurred boundaries between child and adult characters who are literally related to one another and whose adventures mimic one another.

In a third example of fanfiction set during the Second World War, Weeping May Tarry, a long novel by ElouiseBates, Meggie, the heroine, is Shirley’s daughter (and also, surprisingly, Paul Irving’s granddaughter). In this story, which like Cecilia of Red Apple Farm is an installment of a longer series, Meggie is sent off to a conservatory of music to study singing, aptly combining the traditions of the nostalgic boarding-school novel with “Girl’s Own” wartime fiction. Following the tradition of Magic for Marigold, which explicitly suggests in its second chapter that the Murrays of Blair Water and the Lesleys of Cloud of Spruce exist in the same universe, @e-louise-bates (like many other fanfiction authors, including ruby gillis) suggests that all of Montgomery’s characters exist in a single universe: Meggie partners briefly with the grandson of Sara Stanley (The Story Girl and The Golden Road) and is close friends with Jane Stuart (Jane of Lantern Hill).

Going even further, @e-louise-bates introduces the grandchildren of the What Katy Did series as friends for Meggie and includes Betsy from Dorothy Canfield Fisher’s Understood Betsy as Bruce Meredith’s wife, creating a world where all the characters of early-twentieth-century girls’ fiction seem to have truly lived, where their descendants must cope with victory gardens and dances with soldiers at the Exhibition Grounds, and where kisses are much more commonplace than they once were.

These particular continuers of Montgomery are also desirous of membership in the community of her fans, seeing their literary endeavours as productive of approval from a fellow readership. Likewise, the novels are notable for their sociality – they seem to offer the reader not only a fantasy friendship with the characters themselves but also the very real society of fellow readers of the works. Thus, these fan authors attempt to diversify their stories so that they represent contemporary beliefs regarding multiculturalism; ruby gillis, for instance, introduces into the family by way of marriage a French girl who has had to flee the Nazis due to being Jewish, a situation Montgomery and her contemporaries might have had some difficulty accepting, considering early-twentieth-century attitudes toward interreligious marriage and Montgomery’s othering of the German-Jewish peddler who sells Anne green hair dye.

The Second World War thus offers writers of Montgomery fanfiction the loom on which to weave new, more diverse stories, even as The Blythes Are Quoted, which also traces the characters’ reactions to this new war, demonstrates how these readers-turned-writers followed Montgomery’s own trajectory, not knowing that they were doing so. On the subject of fanfiction, young-adult author Patricia C. Wrede writes: “The thing that fascinates me about fanfiction, though, is the way that it models the decision tree that writers go through (whether consciously or unconsciously) to get to their final product. For those of us who do this part mostly unconsciously, it can be interesting and instructing to see the multitude of alternate paths that a story could have taken, all laid out more-or-less neatly in different authors’ fanfics [… taking a slightly different fork in the road] resulting in the plot veering in a completely new direction. Friends become enemies; enemies become friends; goals and objectives and results shift and change.” Within these pieces of fanfiction, then, fan writers are able to follow these decision trees with subsequent generations of characters as well.

Another avenue of access occurs when fan authors transpose historical narratives into the contemporary moment. Perhaps the best-known example of this modern alternate universe [AU] conversion is the television program Sherlock, which takes Arthur Conan Doyle’s Victorian detective into the twenty-first century. While new cultural contexts appear, the essence of character is meant to be retained. Just as Sherlock uses text messages and blogs to substitute for telegraphs and handwritten journals, fans of Montgomery reimagine the relationships between her characters as if they were taking place online.

For instance, “Work in Progress” (2012) by verity postulates a friendship between Montgomery’s most famous heroines, Anne and Emily. In this piece of fanfiction, Emily circumvents Aunt Elizabeth’s injunction against fiction during her time at Shrewsbury High by becoming a blogger who is restricted to the “truth.” The story’s online summary, a part of which reads “Anne rolls her eyes. ‘Is your aunt really going to know if you cheat on your nonfiction with some hot prose on the side?’” shows how the story preserves the character qualities that Montgomery laid out, complete with references to the Murray pride and Anne’s orphanhood. Mr Carpenter’s admonitions are spelled out at the beginning of the story:

“Emily Byrd Starr has a sticky note on her desktop. It reads:

ITALICS

CAPITALS

!!!!!

“just”

“really”

CTRL+F!

It is almost like having Mr Carpenter in the room with her.”

Verity creates humour through the juxtaposition of contemporary social media and allusions to Montgomery’s source text. Another story by verity detailing Rilla’s romance with Ken Ford and her friendship with Una Meredith, “Rilla of Toronto,” takes place mainly through instant messages. In this story, Rilla reflects on her life from eighteen to twenty-five, tracing a continuum from her child self to her new adulthood, underscored by verity’s translation of Montgomery’s work into contemporary millennial language.

A third type of fanfiction narrative, the gap-filler, focuses on and expands the implications of the source texts. Moira Walley-Beckett’s Netflix/CBC series Anne with an “E,” as Laura Robinson shows in chapter 12 of this volume, is somewhat fanfictional in and of itself: as Robinson points out, the show fills gaps by bringing to the fore the darker currents that have always been beneath the seemingly untroubled waters of Anne of Green Gables, including Anne’s potential post-traumatic stress disorder from the disturbing life she led before coming to Green Gables. This kind of versioning and adaptation tacitly permits fan authors to feel that their versions are just as valid as those produced by professionals. Gap-fillers frequently expand on romantic pairings and in fandom are often referred to by portmanteaux of characters’ names that perpetuate some inside joke or work as puns. “Shirbert” – a moniker for Anne and Gilbert – is the latter, and demonstrates how fans posting on sites like Archive of Our Own (Ao3), Fanfiction.net, and Wattpad (this last generally populated by younger fans) develop their own language to identify their stories within the community for which they write.

One such story, “You caught me staring, but I caught you staring back,” by Anuka, clearly inspired more by the television series than the novels, begins with an author’s note that reads, “I decided to write some fluff for these two, because I need more Shirbert moments, and season 2 is so far away. I added gifs to make it more vivid.” Here, the romance between Anne and Gilbert as depicted by Montgomery and Walley-Beckett is not sufficient for the reader-turned-writer. Anuka wants the gaps in the narrative to be more fully explored than they are on either page or screen and to be made more “vivid” by the inclusion of images that help make the story come alive.

Similarly, “Rilla Blythe’s Wedding: A Not Entirely Comprehensive Account” by Scylla also fills a gap: Rilla and Ken’s wedding day, a scene that Montgomery leaves to the reader’s imagination at the end of Rilla of Ingleside. Modelled upon other accounts of weddings within Montgomery’s fiction, the story also suggests that accounts of Walter’s death have been gravely exaggerated, as he makes a stunning appearance at his sister’s wedding. In order to align her work with Montgomery’s novel, Scylla ensures that Little Dog Monday’s awareness of Walter’s death remains, but makes it only a technicality, writing, “His heart had stopped for a full ten seconds – long enough for his Captain to feel for his empty pulse and for Dog Monday to be jolted with the fullness of his death. Little dogs, after all, can only have tender dogs’ hearts. Grief to Dog Monday was an all-consuming thing, and when Walter’s heart began to beat once more, he was deaf to its spark of joy.” After meeting with his eldest sister, Joyce, in heaven – which is, as he had always hoped, Rainbow Valley, Walter is returned to life so that he may write of peace as well as war (as he did when he was a boy), marry Una, and repair the broken hearts of readers who did not want to lose him.

While heterosexual pairings are the most prevalent in Montgomery fandom, there is room for queer imaginings as well.

This very popular genre of fanfiction, known as “slash,” is generally defined as stories that centre on samesex romances between characters, particularly between men. Montgomery slash fiction usually stars Walter Blythe.

One slash story, “but i don’t know who you are” by @freyafrida, imagines a bisexual Walter. Told in an enduringly popular sub-genre of fanfiction often referred to as Five Things Plus One (which involves a series of thematically linked but not necessarily chronological scenes), the story is summarized by @freyafrida as “Five people Walter thought he wanted, and one person he didn’t notice until it was too late.”

This last person is original to Montgomery’s text: Una, whose apparently unreturned attraction to Walter is woven through Rilla of Ingleside. The other five potential partners are all alluded to as Walter’s close friends, beginning in childhood with Alice Parker from Anne of Ingleside and Pat Brewster from The Blythes Are Quoted and then carrying on through adolescence and young adulthood with Faith Meredith, Ken Ford, and finally Paul Irving from Anne of Avonlea. While his feelings for Faith and Ken are clearly unrequited, Alice, Pat, and Paul all express their own desire for Walter. The inclusion of the famous poet and Walter’s “model” uncle, Paul Irving, in particular, particular, illustrates how traits of sensitivity and aesthetic appreciation that challenge traditional ideas about masculinity are frequently interpreted as queer by fan readers and writers.

In another slash fiction, cero_ate’s “The Moving Finger Writes, and Having Writ Moves On,” Walter discovers his homosexuality while fighting in Europe:

He wrote half truths and lies once more, when he wrote his Rilla that he could not form poems of the depths of the war. For who could write his sister of the phallic love he had found? He had found his reason in a tow-headed American boy. He meant so much more to Walter than mere friendship could explain. He wanted to write, as sweethearts write, of the tempest of joy in the darkest night. But how would they understand? How would they even try to understand he sought not the Dark Lady of Shakespeare but the youth, fair and Wilde? When he was presented with Una’s faithful heart, he spurned it. When his tow-headed darling presented his own, Walter took it, greedy for him. His grecian style love, the boy who’s [sic] eyes danced, even in the darkest of days. He would do anything to keep him safe. But he could not present him to his family, for their scorn or pity. War had broken him, but made him as well.

While male/male pairings are generally the most popular stories in fandoms, Montgomery’s novels, peopled as they are by communities of girls and women, require that readers who want to queer the text must explore what is called femslash (that is, slash fiction featuring two female characters).

Such relationships have been explored within the academic setting. For instance, Laura Robinson remarks in “Bosom Friends: Lesbian Desire and the Anne Books,” that the relationship between Anne and Diana uses “the language that readers associate with adult romantic love rather than girlhood affections,” even as it is expressed through the heterosexual paradigm of marriage.

One fanfiction author, ArcticLava21, makes it clear that such fan written stories are not speculation but instead address key issues of representation. The author’s note to ArcticLava21’s short Anne/Diana story, “Nature,” reads, “Hello everybody! Hope your [sic] having a wonderful day. Before anyone yells at me for ‘sexualizing platonic friendships’ please note that this is for all those queer kids who grew up pretending. Pretending that he ended up with him instead of her, or desperately wanted representation. Are we good? <3 Enjoy yourselves lovely people.” The intended audience of the story, “queer kids who grew up,” again establishes the transgenerational kinship between Montgomery’s child and adult fans.

All fan fiction, shared on the Internet, exist in dialogue not just with Montgomery’s fiction but with the author herself, and between the fans who read the novels as children and adolescents and the adults that these readers become.

Whether fan writers extend the narrative or fill gaps, transpose chronology or to queer the text, these pieces of fanfiction allow fans not only to insert themselves into the narrative, but also simultaneously to revivify the original novels, published a century ago. In performing interventions to the text, Montgomery’s young fans grow up to reply to the discussions that she began long ago in the pages of her journals and stories, ensuring that all three – author, reader, and text – are continually reborn into a conversation that will never end.

[skaldish]

Oh my god I just had a horrible realization. It's a really personal one so please bear with me but I need to share it because…Idk, maybe it's not just me.

But I realized. I didn't actually grow up being a part of any culture. I grew up with seeing culture around me, and sometimes participating in culture temporarily, but I was not raised with a cultural identity of any sort whatsoever.

I identify as an American only because I live in the US, not because I'm acculturated American. I only have the cultural senses I have because it just so happened to be what I was surrounded by.

None of the stories told to me, none of the food I ate, and nothing I wore, were used to convey "This is who we are as people" by my family or community. Stories were just for entertainment, food was just for eating, and clothes were just whatever I liked wearing from the department store. These things weren't, in any way, identity, outside of things I could use to express my own personal identity if I wanted to.

Fuck, I wasn't even given the cultural knowledge associated with the class I was raised in. No leadership skills, no business sense, nothing.

"But what about religion?" No religion either. My family has culturally Catholic leanings, but it's residual and unrecognized.

"What about being white?" The fact that I can't describe what "being white" even means—beyond how I've heard it described—goes to show you my expertise in the matter.

"What about subcultures?" I only know how to participate in subcultures as either a spectator or as a guest. No culture has ever identified me as belonging to it, despite welcoming my participation, and I can't consider myself part of cultures if they don't claim me.

In terms of my cultural identity, I'm completely blank. It's like I have no name.

I write all this because I was thinking about why some Scandinavians would be upset at me using "Heathen" (as well as bigger questions of cultural appropriation in general) and came to this realization.

For the record…I don't consider myself Heathen because I identify as part of Scandinavian culture. That would be absurd. I use "Heathen" because I accidentally befriended a Heathen god. Loki hid his identity from me for years, and I was very upset when when he finally told me who he was—I felt like he betrayed me, and also like I was going insane, because my worldview prior to that did not support the existence of gods.

I dug deep into learning about Norse paganism because I knew understanding Loki within his cultural context was vital to understanding who he is. The reason I started digging around in Scandinavian culture directly, though, was because—surprise!—nothing we have published in the US actually has this context.

…I'm embarrassed to admit I wasn't aware "cultural appropriation" describes a situation where one person walks into another person's culture and says, "Yes, this is my home now," like a cuckoo taking over another bird's nest. I always thought it was a function of mishandling a culture—using it in ways that was careless and ill-informed—but no, it's taking away other peoples' identities in the name of playing dress-up for yourself.

"You're robbing me of myself for your own stupid aesthetic desires!" That's how I imagine it must feel.

It disgusts me to think that's how my actions may have looked.

[imustbenuts]

im free from yakuza kiwami 2. fuck the writing in this one. this was a complete mess of pulling from the most popular generic east asian drama tropes at the time of 2006 and having it be handled by a super inexperienced writer at the helm.

i went from having no expectations, got somewhat surprised, only to end up downing alcohol and laughing hysterically before the credits rolled. so that should set the mood for how i feel about this one. thought vomit under the cut, a lot of info dump about culture incoming

yakuza kiwami 2 is pure heterosexual east asian romance bullshit.

im gonna just. describe as best as i can what i know and remember from the general media coming out from the 90s to the 2010s in around this part of the world before i just start explaining why i think this story is a mess.

so. 2 parts i swear is responsible for this rubbish.

1) East Asian Beauty Standard

the general consensus for a beautiful feminine woman AT THE TIME in this sphere is the following

be willowy thin (fat = lazy and ugly)

have black hair that ISNT short (dyed = too much individuality, too much WESTERN INDIVIDUALISM, gasp how dare!)

fair skinned (bc dark = she works in the fields and is from a lower class)

young. if you heard of the term "Christmas Cake" in japan context, yeah. (ie women over age of 25 are undesirable)

be educated and refined, bc that indicates class and femininity (failing this means shes vulgar and gasp like a barbarian)

be submissive to her male peers in the sense that her authority cannot override his at least in public (for the sake of his face)

dresses feminine and not like a man (trousers and jeans are man-ish. traditional clothing, skirts and dresses are preferred. the further back the stronger this sentiment is.)

incidentally, theres a lot of classism tied to this EABS due to sinocentric culture influences. it has to do with the chinese court system and how korea and japan copied it and a lot of the culture wholesale but. anyway. thats like over 1000 years of history in there thats not really worth detouring to rn.

and also, the worth of a man is sometimes (not always) upheld by how classy and feminine this wife of his is. as of 2024 though, this line of thought is still around in the more conservative pockets. also, the education might not matter as much these days as how deep her and her parents' pockets and wealth are.

moving on.

2) media tropes

so. off the top of my head.

if you wanted a popular romance drama in this time period, the popular offerings no matter where you looked tended to offer the same flavors of tropes.

the woman always has dark hair, is fair skinned, thin and younger than her male love interest. ive never seen this broken or subverted in my time absorbing via osmosis the dramas playing on local tv growing up in the early 2000s.

everything else about her can be subverted though. sometimes she can wear fancy pants or have short hair to indicate her strong individualism. BUT, her personality no matter how strong it begins, no matter how her intro begins will 99% of the time encounter an effect where catching feelings turns her into a meek loyal woman to her love interest.

bc she cant override his authority in this culture context.

at worst, she becomes highly irrational and even hysterical in the dramas when bad things happen. this includes things like love triangle, or a fallout of family business, drama, plot or whatever. she would cry and sometimes even die.

see: sawamura yumi. sayama kaoru.

meanwhile, the male love interest can be anything. ive seen middle aged guys to young good looking upcoming actors playing the lead, with looks varying from haggardly okay to young and handsome. it. really depends on the genre.

depending on what specific country it came from, the drama would have the male either grow, become manlier (by learning honor ig), become stupid in the name of love, but he rarely if ever actually dies. the woman effectively becomes yoshi for mario to lauch off on when they're crossing a chasm

the romance is forced. a lot of the BIG LOVE SPARK ie kissing happens in tense moments bc it builds drama, but in reality comes too fucking close to sexual assault (some of the old jackie chan movies does this iirc for slapstick even)

see: sayama getting kissed right after handling her biological father's ashes less than 24 hours ago and admitting to kiryu that shes scared. this scene right fucking here.

bc in general, the scriptwriters for popular dramas tended to be guys themselves and tended to write more human dudes. and the women in the stories are reflective of the ideal societal expectation at the time: being a Refined Housewife.

so her character development is often headed in the direction of marriage and being a stay at home mom.

if it sounds a little like tradwife bullshit, it is.

Refined Housewife

(i have massive negative thoughts about this which i KNOW for a fact is a thing bc a lot of these societal culture femininity was impressed on me as a kid in a world where it was already getting increasingly impossible to have 1 spouse be a SAHP. and also i hated the whole thing about giving face to the patriarch of the house when i personally saw so much ego dick measuring from my uncles. anyway understand that this is both a bias an a lived experience, so proceed with that in mind)

there is a problem with the Refined Housewife expectation: education.

in general, education has been a good metric to judge how classy or smart one is in asia's largely on-the-surface meritocracy based culture. people will look at each other's school first and then judge them from there, and pretty hard too.

so everyone regardless of gender will be expected to study super hard. and bc having good test scores and going to good schools looks good for the family's face, parents will often pile on tuition to the child to get them a leg up in life.

bc also no good degree from good school means no future.

but then... the woman is expected to be a housewife. 🙃 meaning... the education, her accomplishments, are kinda... tossed away in this context. put a pin in this.

it wont matter how much she studied or accomplished, bc the expectation is that the woman would marry and obey her husband, and give him face/honor that way. the kids will come eventually bc having kids = being filial to ones parents in this context.

also uh. no, having adopted kids is not thought of as being filial. continuing the bloodline is.

and if you've been paying attention, then yes, ive been skirting around the backbone of sayama kaoru's writing foundations this entire time.

Her story has been butchered so clumsily i cant even...

lets just. ugh.

she fits the EABS standard, her tropes are trying to subvert the expectations of a womanly woman in this context, she has IMPRESSIVE education and career achievements. she works in a male dominated field, and is keenly aware of sexism. she is strong, stronger than her male peers, at least we are told.

by 2006s standards, its still considered a fresh take with those alone in japan. sexism there is its own flavor of crap. (if you noticed ive not spoken about LGBTQ+ stuff at all, its bc how ridiculously BINARY the expectation is at that point in time. it still is today but less so)

however, the writing has this sense of trying to copy the popular tropes at the time while not fully understanding and dissecting them, and ends up butchering sayama's character before the romance even properly began.

i mean, for fucks sake even, sayama and kiryu has a whopping 14 year age gap. when im told these are supposed to be believable people living in japan, this is too big for me to just go 'oh ok!'. and remember the Christmas Cake thing? shes 25. (FUCKING--!!!! !!)

the problem here that i see is the writer trying to apply all of those while trying to play the tropes straight. trying to imitate. trying to make a statement but then finding out theres nothing within yourself to stand by what you want to say and backtracking.

we are told:

sayama is strong yet she goes down with 1 slap by random thugs and needing kiryu to come in and body them. because romance ig.

we are told shes a yakuza hunter but she doesnt scare a single one beyond her introductory scene.

she goes from defiant and bossing kiryu around to getting her actions overridden by kiryu and ryuji, both men, towards the end

her subtext is that shes not feminine and therefore conventionally undesirable, but then kiryu tells her shes actually feminine and therefore desired, as if its all that matters.

she becomes so stricken by grief and freaked out that she runs off solo to deal with ryuji in the most out of left pocket planning ive ever fucking seen.

and then yells as she takes out her police baton to take down the big yakuza dude, drawing attention and turning herself into a hostage.

i know the writing will fumble but i didnt expect it to fumble this bad.

for all the good the surface chemistry kiryu and sayama has, its being undermined by a fundamental failure to understand tropes and then using said tropes as a crutch so much that everything here has become a bloody mess.

this failure of over-relying on tropes without understanding them extends to yumi too. sawamura yumi was young and beautiful, and became the Refined Housewife to the Not-Male-MC and ends up regretting it, and gets killed for it.

her defining trait is that she is beautiful in subtext. thats. thats what the tattoo is. in a world where the tattoo makeths the person, thats what she is and all that she is.

dear lord.

ive read up a bit more on sayama and you know what. good that she chooses her career over kiryu. the romance would have caused both of their characters to explode with the trajectory this was heading in. ffs sayama could have had her own game. she has so MUCH potential.

and also GOOD that the writer is forced to think of kiryu in the position of the Stay At Home Parent for haruka and the orphanage down the line!!! subverting the fucking traditional BS expectation! yes!!!!!

all i got was sayama and kiryu making out before the bomb went off in front of my alcohol and salad while they're like 'eh, haruka will forgive us for dying :')'

and i ran out of alcohol.

sexism? maybe. incompetence? definitely.

hhgrhgrhrghrghrgrhgr wow this got long. ugh. guhhhhhh.

[bigkpopstan]

also let me be really honest with u!

its true that latinos that live in their mother countrys are very harsh on kids who are born on north america but have hispanic background, but we have so many vAliD reasons to be like this

bc these kids are normally more focused on "looking the part" that forget one fact: we are more than an aesthetic

theres lenguaje, culture, food, history but they are often ignored and people end up "claiming" their hispanic side but can't even talk to their cousins 🥴

we are never going to deny ur identity, we even encourage you to connect with it in every aspect possible but the first step is to understand this is more than looks

also don't be scared of not liking etnich food, there are things that are just not of ur taste lol but as long ur are trying authentic food is probably going to be bomb 🤚🏼

💌 anon

ah

i definitely get that! like I say I’m proud to be Hispanic but I also…don’t ? feel Hispanic enough. it’s like I feel left out where I see other Hispanic people talking about experiences and stuff that they learned actually being brought up in their culture and stuff and I’m always there like “I should understand and get what they’re talking about” but I don’t. or like !! my only year irl in high school I was in a room granted I was new but I’m definitely obviously mixed when it comes to my looks but two other Hispanic kids mentioned that they were “the only ones” in the room. which yeah I know you don’t know me but ! idk it unnecessarily made me feel bad lmao. I want to try it so bad !! i just don’t know where or what to get bc I already have a thing where I know what I’m going to like and not like without even trying it so there are something’s that I don’t wanna try bc I don’t think I’ll like it but other things 👀

I grew up on a very, ethnically/culturally diverse area in my state so most of the other people in my state, that are Hispanic that I have met personally are all like what are the ways to describe this shit brain fart…like they were like first gen kids? like the guy that I was talking about in tags that I knew was born in Mexico and went back every summer. idk I’ve never met any other person from different cultures n stuff like that in my area that didn’t speak their other language but that is very interesting I can see that. that’s the thing I personally don’t really care much about the looking-I already am very physically, but I want to know like the history and I want to know more about my culture and I want it to be a big part of my life like it should’ve been. everyone I know or meet also think it’d benefit me esp with how I am very like-conscious about not being Hispanic enough.

[karmaphone]

can u imagine if they tried to make atla today. 'yeah here's my pitch about a child who has the weight of the balance of both the physical world and an ethereal spirit world on his shoulders on top of being the last survivor of a literal genocide. yeah he's spiritually enlightened already in a non Christian religion, and reincarnation happens to him and him alone. yeah no the show's major themes are about how war and imperialism are bad for everyone involved, including the world around us. no, there'll still be cool fight scenes but it will also fundamentally explain the difference between defending oneself from an oppressor vs using that power to oppress and how even children can grasp that- where are you going'

[worldsquietestjojosfan]

Every day is a culture shock

Bro ive been on the internet for how long and I'm still in a perpetual state of culture shock?

I feel insane when I hear that people don't take family roles or family duty as seriously as I do.

My best friend loves to send me posts of People complaining about family and we both look like

Oh that's crazy! They're not even defending the family honor and reputation from outsiders????? Literally insane!! Even if you hate your family, you still have to defend them from outsiders. What's even going on?

To us it's like instinct. Even if your parents are straight up evil, you still have access to connections and favors by virtue of your last name. You have to defend the last name so you can keep using that. It's not a common idea? CRAZY! And what about your younger generations? You want to ruin it for them too?

Despite being females, we are both the firstborn son of our households. And then we go online and nobody knows wtf we're talking about

Wtf you mean you're the oldest and you're not at least the firstborn daughter? It comes with birth. You don't have any of those duties? Then what do you do?

Like obv were not robots. I have a lot of friends that didn't do some of their duties. Whether they disagreed or were lazy or just didn't want to, the word "duty" is always there. "That duty was stupid so I didn't do it". Fair. Your choice.

dude ok I know I'm aware other cultures exist and they're different. I didn't realize in practice its SO different. people look at me like I'm fucking insane bro!!!

I had a conversation with a girl and she's like "you're so lucky you have a great relationship with your dad!" And I was like "not all my siblings have this close relationship. I earned my right to stand as his equal by completing all my family duties (almost) perfectly"

Like I earned my right that when we argue I can say he's "being cringe". I earned my right to argue actually. I earned this by repeatedly demonstrating responsibility, maturity, and correct priorities.

Dude that girl said this sounds like child abuse and I was like dawg wtf are you talking about 💀 your parents don't let you earn standing? Do they even love you? (That was mainly ego. She insulted my family so I tried to as well).

I'm guilty of growing up in a mixed asian society. My best friend grew up also In a mixed Asian society but a different one. In mine, the largest groups were Chinese, Vietnamese, Thai and Korean followed by every other kind of Asian.

Her area's largest groups were japanese, Chinese, Vietnamese, Indian followed by every other kind of Asian.

So it's kinda different but close enough. She knows how to eat with her hands and I know how to eat with chopsticks. We all celebrate 2 kinds of lunar new year. One by the south asian lunar calendar and one by the east Asian lunar calendar (don't ask, I don't know why we have 2 lunar calendars. You would think there's only 1?)

Both our areas, aunties will scold you if they hear you talk disrespectfully to your parents. Both our areas people will look down on you for not knowing your home language. Both our areas, the elders expect proper acknowledgement.

There are differences too. In my area, those who disrespect you must be disrespected In return. It's an offense to your family that they think they are allowed to disrespect you. In her area, the disrespect will happen but not to the face. You have to show you're from a better family. Here you have to show you are aware of the bullshit and you won't let it slide. I think its a difference between acting on behalf of your family vs acting with permission from your family. That's my speculation.

When teachers at my school said "grades don't matter" we said "then don't grade us? Liar". When teachers at her school said that they said "we understand, thank you for telling us" and then told their parents and the parents filed a report against the teachers for intentional misleading and sabotage.

The levels or respect and politeness and what kinds of actions imply what about your family were a culture shock to me. When I visit her, I have to adjust to be a lot more mellow and polite than I have to show here. Here, the elders accept any proper acknowledgement like "hi grandma" is fine. Even "hello" or a wave is fine. There, elders expect you to acknowledge them according to their culture. I personally fuck this up so bad because I don't even know who they are so i just copy what my friend is doing. And then I get the relation wrong and then they stare at me. Sometimes I'm lucky.

Over here, we don't really know too many people. It's not as social. Where she lives, everyone knows everyone.

I don't know how to describe this melding aside from just generally "asian" .

I log on to the internet and there's no shared culture except for speaking English 🤣 HAH.

It's like the difference between going to a swimming pool vs a jacuzzi

Vs jumping into a pile of leaves

Previously the common factor was water. Now the common factor is that it's matter.

I'm being so deadass I feel like me and some fictional characters from cultivation novels have more in common

[barnbridges]

today i met a world expert on antisemitism and one of my colleagues was like umm couldn't you put on a jacket. no. he showed up in a shirt. we looked like girl best friends. he liked me and i didnt die.

[kittykatinabag]

Going to be slightly toxic towards zoomer weebs here but after months and months of posts shocked and awed by "breakout star vtuber" Vox Akuma and wondering how he got so popular (well for male vtuber standards at least), you all were clearly not around when CDawgVA was doing his Sebastian roleplays.

Literally Vox is just copying that formula and tweaking it to today's content standards.

British? Check

Deep (not really that deep but we'll benefit of the doubt this one) and smooth voice? Check

Giving copious amounts of fan service to his audience? Check

The only difference is Vox has corporate backing from Nijisanji because content creation is visibly profitable now and seen as way less of a risk by companies. Also he has the greatest advantage of being an image so at least physically human flaws don't exist.

Like fucking hell article writers and video essayists, do your weeb online content creation research.

[pipiezexal]

.

[orcelito]

Me dropping in the last discussion questions that I am Not Straight (for the sake of talking about "muted groups", something that i think there is validity in, tho from my brief study of Kramerae's take she seemed to support a very bioessentialist view of it in that women are fundamentally more emotions-driven than men, etc etc, smth I straight up called hogwash in one of my posts lol)

Honestly, the professor is probably not going to be surprised, considering I've consistently been anti-military, anti-patriotic, & just in general very uhh. You Know. Challenging in my ideas.

I kinda enjoy being able to just express all this lmao

[stephobrien]

Is your pro-Palestine activism hurting innocent people? Here's how to avoid that.

Note: If you prefer plain text, you can read the plain text version here.

Over the last few days, I’ve had conversations with several Jewish people who told me how hurt and scared they are right now.

To my great regret, some of that pain came from a poorly-thought-out post of mine, which – while not ill-intentioned – WAS hurtful.

And a lot of it came from cruelty they’d experienced at the hands of people who claim to be advocating for Palestine, but are using the very real plight of innocent Palestinians to harm equally innocent Jewish people.

Y’all, we need to do better. (Yes, “we” definitely includes me; this is in no small part a “learn from my fail” post, and also a “making amends” post. Some of these are mistakes I’ve made in the past.)

So if you’re an advocate for Palestine who wants to make sure that your defense of one group of vulnerable people doesn’t harm another, here are some important things to do or keep in mind:

Ask yourself if you’re applying a standard to one group that you aren’t applying to another.

Would you want all white Americans or Canadians to be expelled from America or Canada?

Do you want all Jewish people to be expelled from Israel, as opposed to finding a way to live alongside Palestinian Arabs in peace?

If the answer to those two questions is different, ask yourself WHY.

Do you want to be held responsible for the actions of your nation’s army or government? No? Then don’t hold innocent Jewish people, or Israelis in general (whether Jewish or otherwise), responsible for the actions of the Israeli army and government.

On that subject, be wary of condemning all Israeli people for the actions of the IDF. Large-scale tactical decisions are made by the top brass. Service is compulsory, and very few can reasonably get out of service.

Blaming all Israelis for the military’s actions is like blaming all Vietnam vets for the horrors in Vietnam. They’re not calling the shots. They aren’t Nazis running concentration camps. They are carrying out military operations that SHOULD be criticized.

And do not compare them or ANY JEWISH PERSON to Nazis in general. It is Jewish cultural trauma and not outsiders’ to use against them.

Don’t infuse legitimate criticism with antisemitism.

By all means, spread the word about the crimes committed by the Israeli army and government, and the complicity of their allies. Criticize the people responsible for committing and enabling atrocities.

But if you imply that they’re committing those crimes because they’re Jewish, or because Jewish people have special privileges, then you’re straying into antisemitic territory.

Criticize the crime, not the group. If you believe that collective punishment is wrong, don’t do it yourself.

And do your best to use words that apply directly to the situation, rather than the historical terms for situations with similar features. For example, use “segregation,” “oppression,” or “subjugation,” not “Holocaust” or “Jim Crow.” These other historical events are not the cultural property of Jews OR Palestinians, but also have their own nuances and struggles and historical contexts.

Also, blaming other world events on Jewish people or making Jewish people associated with them (for instance, some people falsely blame Jewish people for the African slave trade) is a key feature of how antisemitism functions.

Please, by all means, be specific and detailed in your critiques. But keep them focused on the current political actors – not other peoples’ or nations’ political or cultural histories and traumas.

Be prepared to accept criticism.

You probably already know that society is infused with a wide array of bigotries, and that people growing up in that environment tend to absorb those beliefs without even realizing it. Antisemitism is no exception.

What that means is, there’s a very real chance that you will screw up, and get called out on it, as I so recently did.

If that happens, please be willing to learn and adapt. If you can educate yourself about the suffering and needs of Palestinians, you can do the same for Jewish people.

Understand that the people you hurt aren’t obligated to baby you. Give them room to be angry.

After I made a post that inadvertently hurt people, some were nice about it, and others weren’t. Some outright insulted my morals and intelligence.

And I had to accept that I’d earned that from them.

I’d hurt them, and they weren’t obligated to be more careful with my feelings than I had been with theirs.

They weren’t obligated to forgive me, trust me, or stop being mad at me right away.

I’ll admit, there were moments when I got defensive. I shouldn’t have. And I encourage you to try not to, if you screw up and hurt people.

I know that’s hard, but it’s important. Getting defensive only tells people you care more about doubling down on your mistake than you do about healing the hurt it caused.

Instead, acknowledge that they have a right to be angry, apologize for the way you hurt them, and try to make amends, while understanding that they don’t owe you trust or forgiveness.

Be aware that some antisemites are using legitimate complaints to “Trojan horse” antisemitism into leftist spaces.

This is a really easy stumbling block to trip over, because most people probably don’t look at every post a creator makes before sharing the one they’re looking at right now.

I recently shared a video that called out some of the Likud and IDF’s atrocities and hypocrisy, and that also noted that many Jewish people are wonderful members of their communities.

I was later informed that, while that video in particular seemed reasonable, the creator behind it is frequently antisemitic.

I deleted the post, and blocked the creator. I encourage you to do the same if it’s brought to your attention that you’ve been ‘Trojan horse’d.

EDIT: Important note about antisemitism in leftist spaces:

While it's true that some blatant antisemites are using seemingly reasonable posts to get their foot in the door of leftist spaces, it's also true that a lot of antisemitism already exists inside those spaces.

This antisemitism is often dressed up in progressive-sounding language, but nonetheless singles Jewish people and places out in ways that aren't applied equally to other groups, or that label Jewish people in ways that portray them as acceptable targets.

If you want to see some specific examples, so you can have a better idea of what to keep an eye out for, I suggest reading this excellent reblog of this post.

Fact-check your doubts about antisemitism.

Depending on which parts of the internet you look at, you’ve probably seen people accused of antisemitism because they complained about the Likud and/or IDF’s actions. So you might be primed to be wary, or feel unsure of how to tell what counts as real antisemitism.

But that doesn’t mean antisemitism isn’t a very real, widespread, and harmful problem. And it doesn’t mean many or even most Jewish people are lying to you or being overly sensitive.

So if someone says something is antisemitic, and you aren’t sure, I encourage you to:

A. Look up the action or thing in question, including its history. Is there an antisemitic history or connotation you aren’t aware of? For best results, include “antisemitic” in your search query, in quotes.

B. Understand that some things, while not inherently antisemitic, have been used by antisemites often enough that Jewish people are understandably wary of them. Schrodinger’s antisemitism, if you will.

C. Ask Jewish people WHO HAVE OFFERED TO HELP EDUCATE YOU. Emphasis on WHO HAVE OFFERED. Random Jewish people aren’t obligated to give you their time and emotional energy, or to educate you – especially on subjects that are scary or painful for them.

@edenfenixblogs has kindly offered her inbox to those who are genuinely trying to learn and do better, and I’ve found her to be very kind, patient, reasonable, and fair-minded.

Understand that this is URGENTLY NEEDED.

In one of my conversations with a Jewish person who’d called me out, they said this was the most productive conversation they’d had with a person with a Palestinian flag in their profile.

THIS IS NOT OKAY.

I didn’t do anything special. All I did was listen, apologize for my mistakes, and learn.

Yes, it feels good to be acknowledged. But I feel like I’ve been praised for peeing IN the toilet, instead of beside it.

Apologizing, learning, and making amends after you hurt people shouldn’t be “the most reasonable thing I’ve heard from a person with a Palestinian flag pfp.”

It should be BASIC DECENCY.

And the fact that it’s apparently so uncommon should tell you how much unnecessary stress and fear Jewish people have been living with because of people who consider themselves defenders of human rights.

By all means, be angry at the Likud, the IDF, and the politicians, reporters, and specific media outlets who choose to enable and cover up for them.

But direct that anger toward the people who deserve it and are in a position to do something about it, not random people who simply happen to be Jewish, or who don’t want millions of people to be turned into refugees when less violent methods of achieving freedom and rights for Palestinians are available.

Stop peeing beside the toilet, people.

[lakes-galore-moved]

"if you grow up in a multicultural society you should learn a bit about the cultures you grow up around" and "you shouldn't judge people who grew up in monocultural societies for having some cultural biases especially if they grow and change from that after learning some more worldly approaches" are two ideas that can and should coexist

[phantasmicfish]

So I saw Dune Part 2 yesterday and I was initially super crushed because of the deviation from book canon but the more I think about it the more I sorta like it…

So without further ado here’s a list of stuff I liked about Dune Part 2:

- all the scenes initially of Paul growing closer to the Fremen. You can clearly see that they become friends, accept him as a Feydakin, that they’re laughing, joking, hanging out. (And contrast that to the end of the movie, where Paul has no more Fremen friends, only followers. In the book, this is echoed, where Paul recognizes that he has lost his friends to the Muad’Dib religion. Take book Stilgar, who truly embodies this… by the end of the book, Paul says: “I have seen a friend [Stilgar] become a worshipper.”

- giving Chani explicit rejection of Paul’s messiah status was an interesting choice. Chani’s main thought over part 2 is that they don’t need religion to save them, that through Fremen power and desert power, the Fremen can save themselves. She recognizes that this fanatical worship can be a vehicle to control and enslave her people, and I sorta wish we saw Paul lean into that more… that they found a way to stay together and ‘fight’ the prophecy together based on Chani’s ideals…

- also, I love how engrained this rejection of religion and prophecy is in her character. Book Chani takes no issue with her Fremen name, Sihaya (desert spring), but movie Chani hates it “because it’s part of some prophecy.” Later, we see that despite her rejection of prophecy and religion, that the prophecy does indeed come to pass— the tears of desert spring save Himx aka, Chani saving Paul after he drinks The Water of Life. (Interesting how Jessica has to force Chani to save Paul using the Voice… another example of Jessica explicitly forcing Paul to become the messiah).

- adding more depth to Fremen culture— the South being the more religious fundamentalist tribes vs the North being more secular. Early on, the movie paints this immediate divide between the tribes of Fremen who accept Paul and Jessica versus those who treat them as offworlders (who murdered Jamis). In the books everyone accepts Paul and Jessica after Paul bests Jamis and Jessica quotes some scripture, but I think it makes more logical sense that there’s be friction over these two random offworlders coming in

- I love love loved Paul speaking at the meeting of the Fremen tribe leaders in the South. He fully accepts his messiah status, exercises his power of the Voice + his prescience as a way to command all the Fremen under his name

- I’m a big fan of omitting the two-year time skip, so with that I’m glad Leto II was skipped over entirely. I always felt that Leto II was an unnecessary character addition to the book, especially when he just dies and everyone sort of goes “oh well” and moves on, so I’m glad it’s omitted.

- another interesting choice was to paint Jessica as a straight up villain in comparison to her book counterpart was. The Jessica we see here is seemingly corrupted by the Water of Life: she walks around talking to herself (Alia) and scheming Paul’s ascent to Lisan-Al Gaib. She knows about the Holy War, which is the very thing Paul is trying to prevent, yet she expresses no concern about bringing it to fruition. (Probably because Jessica knows it’s impossible to prevent, but still.) The very last line of the movie, where Alia asks Jessica what’s going on and Jessica says “The Holy War has begun” is just total villain in my mind— explicit acceptance of the Holy War, like it’s just another stepping stone in her plan. Plus, the fact that Paul has visions of Jessica leading him into this period of great starvation totally cements her as a villian.

- going off of that, I like that we see Jessica undergoing actual agony when she takes The Water of Life. When book Jessica and Paul take The Water of Life they accept it calmly and without obvious pain (book Jessica was sitting with her eyes closed, as if sleeping), so this physical reaction that Jessica has to the poison adds to the idea that The Water of Life did change her in a negative way.

- I feel like so far we’ve been introduced to Alia as just a weird talking fetus who’s been consorting with Jessica, so Paul’s vision where Alia says “I love you” really strikes home, that she really does care for Paul which we might not have understood otherwise

[royalarchivist]

Quackity: But before I start, I want to talk about a very serious topic, and a reminder to everyone who's watching this stream, because I know a lot of you know about my project QSMP, and I want to give a very important reminder to everyone who consumes the QSMP, and everyone who consumes my content and the content of everyone in the QSMP:

I want to start off by saying that QSMP is an international global server which has the objective of uniting creators and cultures globally. We are the very first project to create a global international content-creation space by breaking language barriers. That's literally why I started QSMP, that's why it exists. And I want to make one thing very clear: the negativity that has surrounded certain parts of the community since the very beginning of this project is an aspect that I completely disagree with. Constantly, time and time again, I've called it out and I've made myself very very clear on that. Anyone who watches and consumes my content knows that. Constantly I've even been very, very outspoken over the difficulties I faced with racism and xenophobia in my personal life, growing up, and to this day.

Before starting QSMP, and even to this very single day, I get private, racist and perverse messages daily where I am berated for my culture and for who I am. And for many years, I've taken the stance to give zero importance to the people who do that, because these are people that only want to do harm. Recently, now more than ever, it's clear to me why I do what I do, and it's clear to me why the QSMP exists in the first place. And even if there's one person across the world who this project is helping, then that to me is worth it enough to continue doing what I do.

So I want to make it very clear: What the QSMP project does is it embraces the cultural differences in order to unite people from all across the world in a positive manner. That's its objective and that's why I created it. So if anyone intends to consume QSMP with any scope of negativity, whether it be towards the events, the administration team, the creators, any communities, or any of the cultures, then QSMP is simply not for you. I've met some of my best friends, thanks to the server, so it's very clear to me that this concept works and it's going to continue to work. So anyone who watches QSMP and is not ready to accept any inherent cultural differences that will arise from this project, nor is willing to consume this project in the positive way that it was created in, then this project is not meant for you. And I want to make that incredibly, incredibly clear.

Lastly, I want to remind people of something very important: We are not a small community. We're a massive community. We're a huge international community. It's not small at all. So please remember, and please keep in mind that there are external people outside of this project who don't even consume QSMP, whose only goal is to destabilize and divide the QSMP community. There's people who are maliciously as well, and purposefully, provoking others in the community with harmful remarks. Do not- do not give these people what they want, and do not forget what the project and what the community as a whole stands for, which is respect, tolerance, community, open mindedness and unity. That's why I created the QSMP and that's why it exists. And I have to make that very clear for everyone who follows the project. So, yeah, I wanted to say that before we got the stream started, I wanted to clarify that and remind everyone of that fact. But yeah!

[courviknight]

co oping with strangers can be the sweetest sometimes

[sinfulpanda16]

JJK Men x Foreign Reader

Gojo Saturo, Toji Fushiguro, Kento Nanami, Suguru Geto x gn reader

For the most part, you and your bf live everyday life through his culture. So how would he react if he sees a glimpse of yours?

You two were doing origami together, you were making a cute swan and he was making you a flower. It was such a cute moment the two of you laughing and him occasionally giving you a few quick pecks on your face and then you get a phone call.

You look at the number "Oh it's my mom." you say smiling at your phone.

Gojo smiles "Oh it's my future mother-in-law! Go ahead and answer I'll be patient." he says giving you a smirk.

You blush and answer the call. Gojo listens to you as you say hello in your native language. You two only speak to each other in Japanese so hearing you speak your first language is so rare.

He rests his chin in his palm still listening as you continue to speak. You sound so beautiful. You look beautiful. The way you talk with your mother in her first tongue makes him melt, your voice has a different ring to it due to the different pitches. And that Accent! OMG he's fanboying now.

After the phone call ends you turn to see him looking at you in awe. "What?" you ask giggling.

He smiles "You should speak in (n/l) more often. I think you sound hot as hell." he says enjoying your reaction to that.

Your face grows red. Really? No one has ever told you that and hearing that from him made you appreciate him more because it shows that he loves you for you.

You smile at him and he kisses your cheek again and gives you a paper rose. Then in your language he said "I love you".

You were laying on the couch just staring into space. It's officially been five years since you've moved to Japan. When you were younger you're dream has always been to move to Japan and you did it. You moved to Japan, grew to live comfortably, made some friends and even met your boyfriend.

However just like everyone else who moves away, you get homesick. You think back to when you were a kid and lived with your family back at home. It seemed so long ago and then you think about the yummy food you and your family would make. You smiled softly to yourself thinking about the nostalgia.

You get up from the couch and go to the kitchen. You checked to see if you had all the ingredients you needed for your favorite dish your grandmother made for as a kid. You do, so you hurried to get started on making (f/d).

As you cooked you realized something was missing. You think about how when your grandmother used to cook she would tell you to turn on her music. You laugh softly "Aww grandma. Even now you still manage to make me play your music." you say to yourself and start playing some, with memories flowing back.

Soon after a tiring day Nanami comes back home, he sighs and takes off his coat. He hears some music coming from the kitchen but then he freezes when he realizes he can't understand it. Then he smells something good, he doesn't know what it is but he'd like to see what it is.

He heads to the kitchen and finds you there. Thats what the smell is, its you're cooking. "Y/n." you turn around to see him. He looked a bit confused, and you smiled. "Hey lover, I'm making (f/d). It's a dish my family back at home eat. Do you want to help?"

Nanami stands there for a moment, he's never tried some of the traditional food from your country or ever heard of the music, buts it's all you. All of it is your blood and honestly, he's loving this side of you. He smiles softly at, "Sure love." he says and pulls his sleeves up so he can help you.

He's walking to meet up with you. He's not paying attention to much but then he sees you from his peripheral vision. He stops and turn to look at you and you look, wow.

You stand out from the rest, you really do. He's proof lol every time someone see's you they can't help but to admire you. Geto stood there looking at you smirking.

You're (h/t) (h/c) hair is beautiful and your (s/c) skin looks so soft and delicate. You were talking to two other women who were actually asking about you and where you're from. They seemed genuinely interested and curious about your culture. The way you spoke Japanese in the cutest accent made Geto let out a chuckle. It was just too cute.

It's funny because it's obvious that you're not from around here and yet you have such a way of making the people here adore you. They complement your eyes, your voice, or your hair. If he had to pick his favorite would be your eyes. Such a beautiful color and shape. Damn, you're gorgeous he thinks to himself.

You turn to see Geto is already here. With an excited smile you say your goodbyes to the two women and head to him. "Hi my love!" you yell as you run towards him.

He smiles "Hey gorgeous" he says with wide arms for you. Yes, that's right this beautiful foreigner is his partner. You jump into his arms, and he picks you up. And this is exactly how he thinks about you every day.

The first time Toji saw you he was infatuated with you. Even he had to admit you look so beautiful and from there he didn't care. He was gonna make you his.

And he did lol.

He was sitting on the couch on his phone. Endless scrolling of nothing interesting and he started to get bored. He was about to get up but then you enter the living room wearing something he was unfamiliar with.

With a blush on your face you ask, "What do you think love?". He honestly had no idea what you were wearing but it looked cute on you.

"What is it my love?" he asks leaning forward on the couch. You tell him the name and explain to him that it's what the people in your culture wear when there's a certain occasion.

Toji smirks "Do a turn for me beautiful." he orders. Shyly, you obey and do a spin for him. You can't help but giggle when you look at his face. You can tell he approves.

He chuckles "I think it looks beautiful on you" he states. He gets up "But you know..." he makes his way over to you. You start getting uptight, you love his dominance, but you have to admit it's kind of intimidating. Soon he's towering over you. He leans down to your ear "I think it'd look better on the ground by our bed." You shiver and let him pick you up and carry you to the bedroom.

So yeah, he loves you so much and loves learning about your home and its culture.

And bruh, how did they all already know what the word for Daddy was in your language?!