#(that book is queer and you know it)

[mysweetsinfulobsessions]

HIJAB BUTCH BLUES by LAMYA H.

Alright, changing it up a bit with my book stuff but this one hit home with me. The author draws very interesting parallels between stories in the Quran and her experiences as a gay muslim woman that are very interesting. And if you think you can’t be muslim and gay, or wear a hijab and be gay, or even tackle muslim culture and queerness in one, then you’re bound to be pleasantly proved wrong with this one.

[sentientsky]

The Quite Nice and Fairly Accurate Good Omens Script Book Depiction of Gay Yearning by Neil Gaiman

[fogdraws]

Holmes you aren't exactly beating the allegations™ here...

This monologue oh god

[do-you-know-this-queer-character]

Do you know this queer character?

Murderbot is Agender, Aromantic, and Asexual and uses it/its pronouns!

[gennyrthewriter]

After TWO YEARS, the sequel to The Backwater is finally out!

Check out These Other Coasts on Amazon!

(Or, as always, hit me up for a PDF. It's MY book I'll distribute it how I WANT!)

If you like colonial-era inspired low-ish fantasy with political intrigue, moral ambiguity, and a whole cast of queer characters, give it a chance!

[chippedshake]

Ponyboy, eight years old, meeting Sodapop's new friend Johnny from school, who has bright, black eyes and a bruise on his cheek, and has just as much trouble reading as Sodapop.

Ponyboy, eight years old, going to the movies with his parents, his brothers, and Johnny, who his parents insist on inviting everywhere, and talking everyone’s ear off about what he liked about it. Johnny, just shy of ten years old, being the only one to respond as excitedly.

Ponyboy, eight years old, walking home with Darry, Steve, Soda, and Johnny, making quiet conversation with him about the kids at school and trying to convince Johnny that Darry isn't as scary as he seems, just older and trying to be intimidating.

Ponyboy, nine years old, glued at the hip to Johnny, hardly spending a minute without him despite the age difference.

Ponyboy, nine years old, waking up to a knock on the door in the middle of the night and finding Johnny, barely able to hold himself up, face swelling, blood pouring out of his nose. Mrs Curtis coming out and patching Johnny up and telling Ponyboy to go back to sleep, but Ponyboy refusing because Johnny's his friend, so he stays with him for hours, whispering assurances, telling him he's going to be fine as he tries to ignore his shaking hands and the tremble in his voice. Rage sweltering in his chest and realising that at that moment he could kill someone.

Ponyboy, nine years old, falling asleep at Johnny's side, curled up against him in his room, Johnny's arms wrapped around him, tissues and gauze and medicine bottles littered around them.

Ponyboy, ten years old, reading the books Johnny's been assigned at school out loud because "they seem interesting, Johnny, it has nothing to do with you". Johnny pretending like he believes him when Ponyboy says he's just in the mood to read the chapters Johnny has for homework.

Ponyboy, almost eleven, telling Johnny over and over that he isn't stupid, school just isn't made for him and it doesn't matter that he's being held back, but knowing that none of it is getting through to Johnny.

Ponyboy, eleven years old, spending hours upon hours alone with Johnny in silence, doing their homework or drawing or reading or just thinking, living in a bubble where words aren't necessary to talk. Walking away with a greater understanding of each other than anyone else has.

Ponyboy, eleven years old, showing Johnny his drawings of the gang, trying to ignore how Johnny's face is appearing twice as often as everyone else's, and Johnny stopping on one drawing in particular, his breath caught in his throat. The drawing being one that had taken Ponyboy days to finish, Johnny's face as he watched the sunset, calm and awed by the beauty. The drawing matching Johnny's face at that moment exactly. Johnny asking to keep that one and Ponyboy not doubting it for a minute and ripping the page out.

Ponyboy, twelve years old, going to his first official fight against the Shepard gang and teaming up with Johnny against a medium-sized guy, working together seamlessly and practically reading each other's minds

Ponyboy, thirteen years old, finding out his parents are dead and going numb, unfeeling, not knowing what's happening. Not coming out of it until late at night, when he wanders downstairs and finds Johnny patching himself up and wonders why his mom isn't there, helping him. Holding back tears – for himself, his parents, his brothers, for Johnny – as he cleans Johnny's wounds and promises everything will get better.

Ponyboy, thirteen years old, falling asleep in Johnny's arms again, but they've done it so many times it's second nature to readjust themselves so they both feel protected.

Ponyboy, thirteen years old, finding Johnny in the lot with the rest of the gang and being beyond horrified, frozen with shock, unable to do anything but stare as Soda holds Johnny and they get him back to their house. Johnny asking him, in a croaky voice just before they fall asleep, to go get his jeans jacket. Ponyboy finding his drawing of Johnny, folded into neat quarters in the pocket and Johnny smiling softly when he sees it and whispering "thank you" and both of them knowing it's for so much more than bringing him the drawing.

Ponyboy, fourteen years old, blond and quietly crying himself to sleep in a church far away from home. Johnny waking up and comforting him like Pony's done for him so many times. Both of them pretending it's too cold so they have to sleep huddled up, acting like it has nothing to do with comfort

Ponyboy, fourteen years old, screaming, pleading for Johnny to come out because all the kids are out already, come out, please, Johnny, it's not safe

Ponyboy, fourteen years old, visiting Johnny in the hospital and knowing he won't make it, but shoving it down because he can't imagine a world without him.

Ponyboy, fourteen years old, sending Two-Bit to go get a book so he can have alone time with Johnny, and not needing to say anything for both of them to know this is probably the last time they'll be together.

Ponyboy, fourteen years old, pouring all his frustration and rage into the rumble.

Ponyboy, fourteen years old, not being able to break down next to the hospital bed because if he doesn't go get his brothers, Dally might do something stupid.

(It doesn’t make a difference.)

Ponyboy, fourteen years old, sick with grief and not knowing how to tell people that Johnny wasn't just his buddy, they had something different.

Ponyboy, fourteen years old, opening a letter and finding another sheet of paper that falls out. Knowing what it is before he opens it. Tear drops staining the drawing, making Johnny cry as he watches the sunset at twelve years old.

Ponyboy, fifteen years old, forced to pretend like nothing happened and dating a girl – Cathy – even though he knows he doesn't feel the way he should towards her.

Ponyboy, seventeen years old, realising he was now older than Johnny would ever be.

Ponyboy, eighteen years old, getting married to a girl he definitely doesn't feel the way he should towards.

Ponyboy, twenty years old, running to the hospital because Soda was in the wrong place at the wrong time in a rally in New York of all places and now they don't know if he’s going to make it and oh god, not another one.

Ponyboy, twenty years old, holding his breath until his brother answers him and tells him to stop worrying with a forced smile.

Ponyboy, twenty-two years old and realising that he's never loved anyone the way Sodapop loves Steve and loved Sandy, not Johnny, not Cathy, not anyone else, realising he's broken.

Ponyboy, twenty-five, having his second child but first son and not doubting for a moment as he calls him Johnny despite the fact that he can't remember his voice and needs the drawing to remember his face.

Ponyboy, thirty years old, sitting his wife down because this isn't fair to her, telling her he doesn't love her like that, but he does love her. He loves her but the same way he loves his brothers and Steve and Two-Bit and–... and all of them. Her, breaking in front of him, but putting up a strong front and telling him they'll stay together for Johnny and Kristen.

Ponyboy, forty-two years old, finally getting a divorce now that their kids don't live with them anymore.

Ponyboy, fifty years old, happier than he's ever been, living with a group of friends and calling his children regularly.

Ponyboy, sixty-five years old, watching his brother legally marry Steve and shoving down the familiar twinge of not being able to feel any of that.

Ponyboy, seventy-three years old, with a grandchild coming out to him with these words he's never heard before and his mind is swimming with aromantic and asexual and queer-platonic.

Ponyboy, seventy-three years old, talking to his grandchild about something that isn't platonic and isn't romantic, but something different, not less, not more, but different. A bond that runs deep and doesn't fall into these easy categories and Ponyboy holding back tears as he remembers painstakingly drawn pictures and night spent wrapped around each other.

Ponyboy, seventy-three years old and breaking down in his room because he finally found the words to say what he felt and Johnny wasn't here to find them with him, and he would never know that was what it was.

Ponyboy, seventy-three years old, being found by his brothers as he sobs with the drawing in his hands. Soda and Darry sitting down on either side of him and wrapping their arms around him and Steve rubbing circles on the back of his hand and Two-Bit telling him stories about Johnny because even if he didn’t say why he was crying they all knew.

Ponyboy, seventy-five years old, meeting his grandchild's partner and damn near crying but holding back the tears and wishing the two of them the best before pretending to need to take his heart medicine.

Ponyboy, eighty-three years old, going in his sleep, dreaming of tending to wounds and carefully drawing soft faces.

I'll see you soon, Johnny

[cozylittleartblog]

me omw to scare mormons out of a wendys!! 🍂🖤🍟

ootd from like 2 weeks ago and yes that really happened

[toaster-fire-art]

I've offically come full circle a decade later since I'm back hyperfixating on the Arthurian legend distracting myself from everything and listening to the same music as my 14 year old self was. But hey at least I have the confidence in drawing them now.

I love them so so dearly I'm going just a little insane, I'm sorry to everyone who doesn't know me beyond my usual fandoms, you have to put up with what rearranged my brain chemistry when I was a kid.

This started as just a few of the knights, Lancelot, Gawaine, and Galahad and then it became: "Oh but then I should draw __" and here we are. My designs are all over the place and I cannot be bothered to actually draw armor I'll die i just want to draw pretty patterns. But I think the mismatch of clothing styles and all that makes it cohesive?

And I'm going with Malroy and T.H White influence as it's what I know best, that being said all the boys have their coat of arms alluded to in some way but you might have to squint.

(my laptop absolutely hates me for this one. imagine exporting a file and then having to manipulate the sizing 3 times for it to even be able to upload anywhere, couldn't be me. I don't even know how to show the full thing..)

[manichewitz]

i dont think yall understand how floored i was when i found out that the interview with the vampire books are actually incredibly erotically gay for real and not just light queercoding or fan's gay ships?? bc this changes everything. i had always assumed anne rice hated fanfic authors for making her male characters fuck, but no, she just wanted to be the only author making her male characters fuck

[aroaceleovaldez]

i still think a lot about how technically, it's implied Anubis and Walt started dating each other before they asked out Sadie, and if Sadie had said she wasn't interested they would have gone "Entirely fair have a nice day" and proceed to just go continue to date each other.

Cause like, that was the entire thing. They decided that themselves. That things would work best if they were together (as in both physically sharing a body and also relationship-wise). The "asking Sadie about it" part was secondary. If she had said no, they would have stayed together, because among other things Walt would kind of die if they didn't. Walt and Anubis are technically the first gay couple in the Riordanverse. AND they're in a polyamorous relationship with Sadie. Why does no one talk about them ever.

[the-crooked-library]

One similarity between Jonathan and '24 Thomas I'd like to point out is the "unclean" scene.

Jonathan saw and experienced all the nastiest most vile parts inside of vampires, and when she declared herself unclean and when holiness itself burned her he loved her despite it all, and resolved that if she became one of those monsters he would follow her. Thomas also saw all the horrifying darkness in Ellen, and when she too cried out that she's unclean he like Jonathan said that she's not and that he loves her.

I mean... I don't think these scenes are really all that similar - and again, this is to do with characterization, because on the surface level, they do follow roughly the same script. They're both extremely significant to the dynamics between Jonathan/Mina or Thomas/Ellen - but more so as a juxtaposition.

Mina believes herself to be unclean and damned because she has been bitten by Dracula and is indeed at risk of becoming a vampire as well; and as you said, Jonathan vows to join her in that cursed undeath. It is an expression of beautiful, intense, blasphemous, extremely gothic devotion, and it defines their relationship throughout the story.

By contrast, Ellen believes herself to be unclean because of her own psychic ability - because she was the one who woke Orlok in the first place. Thomas does try to reassure her, he tells her he loves her; and he is trying his best, but this reassurance ultimately falls flat for two reasons - 1) he cannot convince her that she is not unclean, because that perceived "uncleanliness" is an inherent part of her, rather than something foreign; and 2) he wants her to eventually be free of it, which she cannot ever be - because, again, the horror is a part of her.

Unlike Jonathan, Thomas is terrified of that horror. He does not recognize it as a permanent aspect of Ellen, and he ultimately is incapable of making the same vow that Jonathan Harker did; and this limitation is crucial to the undercurrent of that scene, because it is the reason Ellen lies to him about her final plan. Mina trusted Jonathan and co. enough to openly ask them to end her life in the event of turning, but Ellen makes the arrangements with Von Franz in secret, before sending her husband on a wild-goose chase. She cares about him, yes, and he cares for her; but he does not love all existing aspects of her. He would not be able to accept her if she turned. Their goals in life, their desires, their perspectives are fundamentally incompatible, and so the only thing she can do for him is leave him behind.

Thomas may have good intentions and a similar choice of career, but he's no Jonathan. It's not exactly his fault, it's just that he's really not meant to be a Hero. He's a Damsel in Distress and he's being forced into the wrong role entirely by a patriarchal world - the existence of which only Ellen appears to recognize.

[jesncin]

Lunar Boy has gotten so much incredible praise from reviews and fellow author friends! Check out their neat blurbs and choice quotes I yoinked and made pretty little graphics out of.

They might just be pretty enough to convince you to...READ LUNAR BOY! Let me know if you get a copy and read it! :)

[queerliblib]

💖 QUEER BOOK RECS FOR MIDWEST PRINCESSES 💖 👑

Rust Belt Femme by Raechel Anne Jolie

Sweeter Voices Still: and LGBTQ+ anthology from Middle America

Land of 10,000 Loves by Stewart Van Cleve

Return to Lesbos by Valerie Taylor

Queer Legacies: Stories from Chicago’s LGBTQ+ Archives by John D'Emilio

The 2000’s Made Me Gay by Grace Perry

[weedle-testaburger]

not to talk about the james somerton thing for the 284837627th time, but I'm surprised no one has pointed out how stupid his 'queer women have it easier' take is considering the fucker literally makes it harder for them by erasing their persecution and even the repercussions they face when making media

[do-you-know-this-queer-character]

Do you know this queer character?

Carmilla is a Lesbian and uses she/her pronouns!

[piosplayhouse]

I've said this before but I think one of the reasons scum villain occupies such a unique niche of queer representation is because it's one that interrogates society's expectations on gender and sexuality, but within a world where there's no strict ramifications for queerness. Instead the expectations and constraints on queerness are carried solely through Shen Yuan's internalized issues, which are so deeply set they motivate many of his decisions within the book, but aren't enforced by any direct outside forces in PIDW. It's a great critique on how the effects of internalization can persist even when someone isn't in an environment where they're being directly oppressed, and how it can take years and years to unpack and unlearn.