#Disfigured

[vertigoartgore]

Doctor Doom by Carlos Magno and Espen Grundetjern. From 2021's Kang the Conqueror Vol.1 #3 (by Collin Kelly & Jackson Lanzing).

[kaykonick]

Zelda link drawing! 🗯️

[noirgasmweetheart]

Lorre's Cat Café: Janos

This angel survived a fire, only for his owners to toss him to the streets for not being "cute" anymore. He survived as a stray for years, becoming a crafty theif and ruthless fighter. We caught him trying to make off with a scone from our coffee counter. The poor baby still seems startled and confused when humans are kind to him, or when Polo wants to play with him.

[theoddsideofme]

?

[stylistic-nightmare]

Cannibal Corpse - Disfigured

[jonaswpoetry]

Adhesive

My adhesive once

again disappoints; this mask’s an-

other slipping smile

—

revealing honest achings

that were the making of me

@nosebleedclub October Prompts 10. disfigured

[tulipfemme]

bestiesss im reading disfigured by amanda leduc and this is literally so good holy shit

[thatfeyboy]

I'm not sure it's ok to refuse any kind of physical contact(like a handshake or touching a shoulder) because they aren't attractive to you. That seems like a pretty rude thing to do especially in a group setting. I also think it's rude and cruel to select to hang out less with people you find physically less appealing within your social group, purely because of having a more pleasing exterior. This sound so shallow and mean I don't really know what to say. What kind of person thinks about their friend group "wow I wish they were hotter my friends are too ugly rn".

Like. Maybe I'm missing something but this just doesn't seem right to me

Things it's okay to do because you don't find someone attractive:

Refuse to date them or have sex with them.

Refuse to let them touch you, or reserve certain types of touching for those who you find attractive.

When choosing between hanging out with them or someone you find attractive, choose to hang out with the person you find attractive.

Want your friend group to include people you find attractive.

Put more effort into your connections with people you find attractive.

Things it's not okay to do because you don't find someone attractive:

Tell them that you don't find them attractive when they're not doing something that requires them to be attractive.

Treat them differently in professional settings.

Expect them to be less visible in public.

Treat them like they're objectively unattractive as opposed to just not attractive to you personally.

Judge someone for finding them attractive.

Recruit others into disliking them.

Single them out. (For example, invite everyone to an event except them.)

Expect them to be grateful for anyone showing interest in them and to never reject anyone.

Strictly limit all of your social interactions to only people you find attractive.

Allow people who you do find attractive to get away with abuse.

Go out of your way to find something wrong with them so you can feel better about not being attracted to them.

[peace-plea]

[yaghrib]

Nicola Samori Agnese, 2009, oil on coppe

[alwayslookingafter]

[schrodingersguy]

My left leg is like an entire inch shorter than my right which i knew but forgot

[saintmaudes]

you're right actually I want to share another excerpt from the same book, from a chapter on beauty and the beast where leduc talks about exactly this !

[Jeanne-Marie Leprince] de Beaumont was known for the way she inserted moral teachings into her fairy tales. In the same way that the French tales of fairies put the feminine in a story as an agent of change, so too did the arc of ‘Beauty and the Beast’ aim to speak to a female audience. In this case, we can speculate that the tale was meant primarily for young women who were being passed back and forth in arranged marriages; the you’ll-come-to-love-him moral of ‘Beauty and the Beast’ was more than likely intended as a balm to those who were facing their new lives with some degree of trepidation. ‘That the desire for wealth and upward mobility motivates parents to turn their daughters over to beasts,’ writes folklore scholar Maria Tatar in the introduction to her collection Beauty and the Beast: Classic Tales about Animal Brides and Grooms from Around the World, ‘points to the possibility that these tales mirror social practices of an earlier age. Many an arranged marriage must have felt like being tethered to a monster.’

But young women were expected to act and behave a certain way in eighteenth-century France; far from subverting the social structure and calling for reform in the way that her predecessors did, de Beaumont’s version of ‘Beauty and the Beast’ emphasized domesticity and sublimation. Her version of de Villeneuve’s tale was included in a collection called Magasin des Enfans in 1757, which, [Jack] Zipes notes, had ‘the didactic purpose of demonstrating to little girls how they should behave in different situations.’ And thus does the fairy tale begin to make the shift from tool of subversion to tool of the status quo – from stories that seek to give shape to the difference in the world to the stories that urge us all to reach for that same, particular pastel happy ending

The evil stepmother is a fixture in European fairy tales because the stepmother was very much a fixture in early European society–mortality in childbirth was very high, and it wasn’t unusual for a father to suddenly find himself alone with multiple mouths to feed. So he remarried and brought another woman into the house, and eventually they had yet more children, thus changing the power dynamics of inheritance in the household in a way that had very little to do with inherent, archetypal evil and everything to do with social expectation and pressure. What was a woman to do when she remarried into a family and had to act as mother to her husband’s children as well as her own, in a time when economic prosperity was a magical dream for most? Would she think of killing her husband’s children so that her own children might therefore inherit and thrive? [...] Perhaps. Perhaps not. But the fear that stepmothers (or stepfathers) might do this kind of thing was very real, and it was that fear–fed by the socioeconomic pressures felt by the growing urban class–that fed the stories.

We see this also with the stories passed around in France–fairies who swoop in to save the day when women themselves can’t do so; romantic tales of young girls who marry beasts as a balm to those young ladies facing arranged marriages to older, distant dukes. We see this with the removal of fairies and insertion of religion into the German tales. Fairy tales, in short, are not created in a vacuum. As with all stories, they change and bend both with and in response to culture.

— Amanda Leduc, Disfigured: On Fairy Tales, Disability, and Making Space

[waywordsstudio]

Review: "Disfigured: On Fairy Tales, Disability, and Making Space" by Amanda Leduc -

Leduc's work is part-academic analysis, part-memoir, and all illuminating: an extended look at the tales that have affected her life and our own. Full of personal stories and the written records of her doctors, we find that our systematized prejudices are more pervasive than we imagine.

[wurds-fur-nurds]

Ammodisventurous (adj.)

1. Pertaining to or characteristic of a perilous journey or quest involving the use of disfigured or irregular ammunition, often undertaken with great risk and uncertainty.

2. Descriptive of a hazardous situation in which damaged or unconventional armaments are utilized, typically leading to unpredictable outcomes and requiring exceptional bravery.

Etymology: Derived from the Latin "ammunitio" meaning "ammunition," "disfiguro" meaning "disfigure," and "venturus," from "ventura," meaning "about to happen" or "adventure."