glaukopiscal

[glaukopiscal]

happy fitzbones day

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i love how transmisogyny doesnt even get fucking suggested as a tag by tumblr search too

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but you see her on instagram and it was never really said that you guys aren’t friends but one day she stopped answering and you stopped texting and it’s not like the wound is a cavern but it is a diagram of what if in red letters. you want to tell her nice lipstick that’s a good color but the last time you spoke it was stilted and awkward 

how do you say goodbye, you know? it’s not an unfriend and block kind of situation. but you watch the people you once loved go on and have a life and you’re outside of it. and it’s bittersweet because of course it’s okay that you’re both thriving. but she used to be who you’d call if you needed to cry. she used to be who’d you’d be binge watching the new series with. you used to be hers, in a way, even if that way wasn’t permanent. and now she’s someone else and so are you and your friendship is clicking heart shapes next to pictures where she smiles next to people you’ve never met. you know where her birthmark is. she knows where you’ve buried your dead.

the poets and the singers and the authors write about romantic love when it ends. but nobody tells you how to get over a friend.

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the real treasure was the friends we ate along the way

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The thing that I always found abominably fascinating and insanely mind-blowing with the Earthsea series is that it breaks all the worn-out, over-used, “seen everywhere” cliches of fantasy people complain about today and try to avoid. 

Tired of your typical Europe-setting? Here is a world of islands influenced by a lot of various non-European civilizations!

Tired of having a white-predominant cast? Here is a series where people of color are the dominant ethnicities and the white are the minority and bizarre barbarian foreigners from far away!

Tired of having the heroes go on grand and perilous monster-slaying quest to fight some dark overlord or fetch a magical item? Here are books where the villains are elusive, abstract and philosophical threats, where the quests to defeat them are very down-to-earth, solitary and rely more on self-search and the understanding of human nature rather than great exploits. 

Tired of seeing the same old-worn out fantasy races tropes? None of this here! 

This book series was created with the intention of subverting, avoiding or breaking the new tropes and stereotypes that were rising up with the success of Tolkien’s work. It was made to be different and ground-breaking and stereotype-crushing, and it worked extremely well, becoming a classic of fantasy literature and influencing the genre massively… And yet, people only rediscover it today, and know about it today somehow. (Well a “large” today including the dozen of last years of so).

This series is the perfect example of the “new” fantasy that rises up in the modern era, as an attempt to “break off” from the “traditional” or “cliche” fantasy… And the first book has been sitting there since the END OF THE 60s!!! 

There are more examples I could point out of books that present to us a completely out-there, trope reinventing, stereotype breaking form of fantasy - and that yet have been there since the 70s or the 80s, or even before! As I went back in time to see several of the “classics” of fantasy literature, I came to understand something - a lot of the “cliches” and “stereotypes” and “over-used tropes” of fantasy people complain about today were not at all dominant for a very long time. If you believe the words of many people out there, you imagine fantasy never had black characters or queer characters or non-European settings or non-Tolkienesque plotlines until the 2010s or something… Which is not true. Fantasy was such a varied, bizarre, diverse genre in its literary form all throughout the 20th century, and many “old” works of the first generations of the post-Tolkien fantasy are basically what people want to see today as “pattern-breaking and fresh new fantasy”. 

The Tolkienesque-fantasy and all of its cliches and stereotypes were not so much dominant as just present in a handful of massively popular and widespread works - the case of the Shannara series can be pointed out, as its first book was PRAISED at the time for being able to recreate a Tolkien story in the 70s, and it was because it was mostly a copy of the Lord of the Rings that it got so popular (and why it is not well-liked today). And then the 80s rolled and early D&D reignited the flame of the Tolkien-inspired fantasy. By the 90s, it seemed Tolkien had been used and over-used to death, and people didn’t trust it all anymore… Which is why David Eddings’ Belgariad series was created. Its key point was to take back all the elements of the traditional epic fantasy story, but reassemble them, freshen them up, twist them slightly, all of that to re-create a by-the-book BUT fresh, new and interesting series. It was an attempt at prooving that, with innovation and some twists and modernization, the Tolkienesque fantasy would not die - and it worked massively well. And then in the 2000s, the Lord of the Rings movie sealed the deal. 

All these works make it look like fantasy had always been copying or taking inspiration from Tolkien. But it is false. It is true that most of the classics are tied to Tolkien, but not always in imitation or re-creation - in the case of “Earthsea”, there was a willing attempt at getting away and inverting the Tolkienesque fantasy to create a fantasy that went the very opposite direction. Same thing with the Elric Saga, also designed to be the reverse or opposite of The Lord of the Rings, and which in turn became the classic of another new genre of fantasy: dark fantasy. And Conan in all that? People forget that the Conan the Barbarian series were just as influential for fantasy works as Tolkien’s Lord of the Rings was. The Elric Saga, again, was created to completely reverse and avoid the Conan-like fantasy. A similar thing was done with Leiber for his “Fafhrd and the Gray Mouser” series, which was designed to break away from the Conan “heroic fantasy” style and reinvent the genre in a new direction. 

There are so many “old” and “classic” works of literary fantasy that actually do not feel like a “classic” at all because they have all the vibes, elements and expectations one has from a non-classic, non-traditional fantasy… BUT THEY ARE THE FOUNDATIONS, they are the basis and classics and inspirations of fantasy. And it all shows this huge gap between what people think fantasy is, and what fantasy really was - it is a fascinating case study of how one specific trend somehow got over the entire genre. Imagine a world where people think Gothic novels can only have a vampire or the ghost of a judge, and must be Bram Stokers-inspired, and that everybody points out they are tired to see Dracula-expies everywhere… Only to discover the stories of Edgar Allan Poe and be baffled by them and their “inventivity” and “breaking of patterns”. I’m sorry, that’s the fastest comparison I can make, but this feels just like that. There is this strangely specific idea of what fantasy is today forged on a few items… I think, beyond the massive success of Tolkien and imitators, D&D probably is also to “blame” for how people see fantasy today.

But even then, D&D took inspiration from so many non-conventional works of fantasy… Yes many became “classics” now, though often ignored by the masses - The Elric Saga, and Fafhrd and the Gray Mouser were big influences. But take the Jack Vance series “The Dying Earth”, another big inspiration on early D&D. Take that. This series is from the 50s - FROM THE 50S - and yet it is a unique genre of sci-fi fantasy that I haven’t seen much being done around, and it creates such a weird, whimsical, bizarre, surrealistic fantasy world, it feels completely unique. And again, it is a classic of the 50s and 60s. 

I don’t really know where I try to go with this but the important thing is: when someone wants to read “non-traditional” or “non-Tolkienesque” fantasy, or “non-stereotyped” fantasy, it is possible, instead of searching for every new author nowadays (not a bad thing to do that though), it is possible to just go back in time, look back at the books of the 70s, 60s and 50s, and find there a novelty, a freshness and an inventivity that is lacking in a mass production of modern day fantasy. And that such a thing is possible is truly crazy for me. I don’t know if such a thing happened with other literary genres, but it is insane that sometimes in fantasy, to see “new” things you just have to look back into the past. 

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More and more I wish Earthsea had got the adaptation it deserved. An adaptation that loved and valued the incredible power of these books. An adaptation that captured the heart of Earthsea, it's gentle, stern atmosphere, it's passion and it's fire. And most importantly, an adaptation NOT JUST FULL OF WHITE PEOPLE. It's insulting.

Nowadays, fantasy adaptations are so key to bringing a fanbase and attention to older works. So this is my plea - read them! They're such incredible works of fiction, with POC mains and queer characters. If you're a fan of LOTR or WOT this is your jam. If you like Brandon Sanderson or James Islington, give it a go.

If they've passed you by, or you've never got round to reading them, this is your sign.

READ EARTHSEA

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btw the Earthsea books are that good and anything positive you’ve heard about them is true and the prose will break your legs and kiss your forehead and it proves wrong every criticism of ‘genre fiction’ and Ged will never be white even though those evil cover artists tried to ignore that and it tackles feminist issues in ways that so much modern fantasy could only dream of and motherhood/aging/absence of war/decentering of power through violence and so many other other taboos of fantasy are made central and powerful and it did everything first and perfectly and well the dragons are cool as fuck. You will get deeply attached to a wizard’s boat it’s called Lookfar. The boat is called Lookfar I love it like a brother.

[glaukopiscal]

thinkin' about ged earthsea

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i think that, if youre usamerican and any time someone calls out your lack of knowledge on global geography you start talking about how bad the usa education is and how its actually not your fault that you dont know what continent nigeria is on because you cant look at the google maps bc donald trump will personally shoot you, youre very annoying

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i dont think usamericans rly understand how prevalent their culture is. english is taught in schools. we hear about usa news, watch usa shows and movies, know usa actors, read usa books, listen to usa music, have usa brands. i have a shirt somewhere with some usa flag motive from like 15 years ago. cant remember why i even have it. why were they even selling that in croatia. your books and culture are everywhere, you dominate social media, and then come on here whenever someone gives even a middle criticism and act like spoiled children because someone wants you to open an atlas

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we shouldnt be mean to usamericans, its not their fault. the first time theyre allowed to see the world map is on a very special day - their 25th birthday, when their parents take them to their old study room and pull out an incredible thing - a dusty old globe. thats the first time an usamerican learns other countries exist. their eye sparkle full of awe as they read names like argentina, laos, nigeria, serbia, croatia, tunis, china, turkey, mexico, finland, etc. however, the spell doesnt last long - their parents quickly put away the globe. they dont want their child to get hurt from this realization of other people living on the earth. from now on, it will be their special birthday tradition - seeing that amazing thing once a year.

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does anyone want to play 'first faggot to moan loses' where we both get stupid high and wrestle while fully clothed until one of us gets a hand down the other's pants

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An assistant is always useful...

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the situation in sudan is dire. allied militants are targeting sudanese people in darfur on the basis of nothing but their ethnic identiy. telecommunications in sudan have all but shut down, impeding access to details of the atrocities that are being committed as we speak. people are being killed, their homes are being looted, they're having to relocate to other cities--only to fall prey to militant forces again, which are going out of their way to pillage more and more areas. although it's been difficult getting hold of footage in sudan, the ones that have managed to come out have been entirely horrific. just like palestine, sudan is falling victim to ethnic cleansing.

ramadan is coming soon, and it's a time of selfless giving and kindness. as we come closer and closer to it, please consider donating to ramadanforsudan--an initiative started by SAPA to raise humanitarian aid for sudan. as always, even the smallest penny counts. if you can't donate, make sure to spread this to someone who can. this is extremely time-sensitive, and it could use all the donations and coverage it can get.

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Punto a Renganek

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I don't know if this was obvious to everyone else, but I just realised that one of the reasons why the Hobbit is so effective as a children's book is that while Bilbo is an adult, the skills that make him a hero are all those of a child.

By human standards he's child-sized, which makes him unobtrusive and light on his feet. He can slip by unnoticed where bigger people can't.

He's good at playing games, and even cheats (successfully!) in a way that - let's face it - is not so different to how children try to cheat at games. He's polite in a way that's fully comprehensible to children (rather than, say, being able to perform courtly manners). He's quick-witted, but the trick of keeping the trolls talking is also one that would be achievable for a child.

He doesn't have magic powers, he's not a great fighter, and he's not some kind of Chosen One. There's not much that he does that couldn't be done by a ten-year-old, but the story shows just how valuable all those skills and traits are. It's very empowering.