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[starapricot]

★ "IF WE CAN'T BEAT THEM, CHEAT!" ★

Hello!! o/

ʚ❤︎ɞ You can call me Star or Remy or whatever else from the user!!

ʚ❤︎ɞ This blog, if it wasn't quite obvious, is mostly to talk about cartoons such as Care Bears, Strawberry Shortcake, Pajanimals, Fifi and The Flowertots, Octonauts, and others that come to interest! I'll still post about them on my main blog but I figured I'll put all my cartoon thoughts in one place.

★★ HEADS UP!! Please be aware to not discriminate any community (lgbt, poc, etc.) here. I will not tolerate any disrespect. ★★

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ʚ❤︎ɞ #1 APRICOT FAN!! I LOVE HER SO MUCH!!! I DON'T CARE IF SHE'S A MINOR CHARACTER!!!!

ʚ❤︎ɞ Unfortunately, I like analyzing characters (kinda) so you will most definitely see me say something like "Peppermint Fizz is such a cool and creative character and here's why:" and it's a ton of stuff about her relationships with the others.

ʚ❤︎ɞ I love music as well!! Send me a song and I'll listen to it and there's a high chance I'll like it <33

ʚ❤︎ɞ I also do art! Mostly traditional but I take a hit on digital. It's. Not the best but it's definitely something and I love it always <33

ʚ❤︎ɞ If you want to know a bit more about me and my interests that doesn't have to do with cartoons, then you can go check my main blog ( @qstarhalo ) where I talk about anything and everything <3 (mainly a minecraft blog so you know, heads up)

ʚ❤︎ɞ Tags for other things:

𔘓 "#stars messages" where I talk and talk

𔘓 "#stars art" for art

𔘓 "#stars quotes" for little quotes here and there

𔘓 "#stars songs" whenever I mention songs + music

And that's it!! I hope you enjoy the ride and hope to see you around <33 Have a nice day or night wherever you are <33 Bye!!

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[illusioncanthurtme--art]

A very self indulgent Billford playlist!

Self indulgent, because this music does not appeal to the masses at all; these songs are limited to the stuff I listen to. So I’m being VERY transparent about my embarrassing taste in music right now! Plus, NOBODY ASKED FOR THIS!!! But I hope some of these resonate with you. This is a little collection I’ve formed in my phone notes since I got into this ship a couple weeks ago.

Not a fancy spotify playlist, it’s just links to the music on youtube. 

I’ve got this divided into parts:

-The Billford Songs

-The In This Moment Billford Songs

SO MUCH of their music is enemies/lovers perfection. I’ve thought about so many *killing you but also making out with you* pairings to this shit, because these songs were like, DESIGNED to be recycled for any and all love hate relationships, and still hit insanely hard EVERY TIME. So now that you have these songs under your belt, you have them FOREVER. You’re welcome. I haven’t even listened to all their music, I’m sure there’s more songs for this category that I simply haven’t discovered.

-The…Maybe…Billford Songs

My standards were kinda high for making this list. But every song is about your ship when you’re insane, right??? So these are the maybe’s. One’s I’ve thought about billford to, but maybe the lyrics don’t totally align.

Playlist under the cut! I wasn’t gonna ramble about each song but WHOOPS I DID 🤷‍♀️

The Billford songs:

Monophobia - Deadmau5 (Extended version, cuz it’s the best.)

THE LYRICS… THE LYRICS!!!! Definitely bill pining in theraprism. 

Propane Nightmares - Pendulum

This one WAS gonna go in the maybe’s, but I convinced myself otherwise after listening to it eighty more times, and now it’s up here on top. And fuck it, this is the *self indulgent* billford playlist, so I do what I want. I go into a fucking trance when I listen to this song, so I can’t really explain 110% why this is a billford song to me, but I’ll try.  Apparently, this song is about the heavens gate cult. So not enemies/lovers angst. But looking at the lyrics, you could interpret it as giving yourself to something greater, and coming to the realization that what you pledged yourself to is actually a very bad thing which will ultimately destroy you. (also, you can’t deny that there was some cult like manipulation happening with Bill and Ford. Sense of purpose and friendship.) Definitely billford-y when you consider Fords commitment to bill. And I’ll admit, when I listen to it, there is some pov switching. Because the “trail of fire”,  “we will be as one”, and “bring it on home” is VERY reminiscent of bill executing weirdmageddon. So overall, my interpretation of this song is Ford feeling torn about bill, feeling regret, feeling scared, and Bill of course, just wanting to bring the dimensions together. “BRING IT ON HOME!!!!”  Or I just like the song. 

Rule 34 - Fish in a Birdcage

Bestie recommended this song to me. It needs no explanation.

Painkiller - The Queenstons

…NEEDS NO EXPLANATION DSKFDSKJHF It’s similar to the above, just more… scary imo. Violent. Definitely bill being a little psycho. I really love this song. It’s very recyclable too. You have it for any toxic ship now. 

9V - The Queenstons

One of my favorite Lapfox/Halley Labs songs… I’m gonna give you the lyrics, it’s a bit hard to understand without them. In my eyes, it’s about betraying Ford. Also these vocals (and other music by this artist) works so well for bill because of the synthesized voice. 

LoveBOMB - S3RL

This is a new S3RL song. This song sounds like a tantrum, and I really liked it when I first heard it, but it didn't fit anything I was into at the time. Luckily, bill suffered a horrible breakup, and now this song has it’s meaning. 

When I'm There - S3RL

Bill thinking about joining the third dimension with Ford. 

Click Bait - S3RL

I’ve listened to this one a LOT before this, and I surprised myself with how much it aligns with bill, specifically, him tricking Ford.

Space-Time - S3RL

Speaks for itself.

Sodom & Gomorrah - Dorian Electra

This one’s just funny :)

The In This Moment Billford Songs

Sick Like Me

Sexual Hallucination

This is one of those recyclable songs, but I was damn surprised at how well the lyrics suited them, because it alludes to being out of body, possession, etc.

Blood

Half God half devil

Roots

Whore

Damn it, I cant deny this one suits them.

Big Bad Wolf

DAMN IT I wasn’t gonna include this one, but I just checked the lyrics and fuck, it works. In this moment, how are you so wonderful

The…Maybe…Billford Songs

Illuminaughty - Infected Mushroom

I'm kind of grasping at straws with these lyrics, but with a title like that? Come on

The Pretender - Foo Fighters, Infected Mushroom, Turbo Remix

Three versions, for whichever suits your fancy.

Leopold - Infected Mushroom

This one has NO LYRICS, but it has this buildup that sounds really cool, and it has an abrupt decrescendo. Reminds me of their "friendship" and how it all came crashing down.

Idolize - Dorian Electra

Hmmmmm, I just like Dorian. But the idolization thing works for obvious reasons.

That’s it! Hope you enjoy. Maybe I'll do an expansion pack of sorts if I find enough songs for a part 2.

[yamayuandadu]

Nonconformity, ambiguity, fluidity and misinterpretation: on the gender of Inanna (and a few others)

This article wasn’t really planned far in advance. It started as a response to a question I got a few weeks ago:

However, as I kept working on it, it became clear a simple ask response won’t do - the topic is just too extensive to cover this way. It became clear it has to be turned into an article comprehensively discussing all major aspects of the perception of Inanna’s gender, both in antiquity and in modern scholarship. In the process I’ve also incorporated what was originally meant as a pride month special back in 2023 (but never got off the ground) into it, as well as some quick notes on a 2024 pride month special that never came to be in its intended form, as I realized I would just be repeating what I already wrote on wikipedia.

To which degree can we speak of genuine fluidity or ambiguity of Inanna’s gender, and to which of gender non-conforming behavior? Which aspects of Inanna’s character these phenomena may or may not be related to? What is overestimated and what underestimated? What did Neo-Assyrian kings have in common with medieval European purveyors of Malleus Maleficarum?  Is a beard always a type of facial hair? Why should you be wary of any source which calls gala “priests of Inanna”? 

Answers to all of these questions - and much, much more (the whole piece is over 19k words long) - await under the cut.

Zeus is basically Tyr: on names and cognates

The meaning of a theonym - the proper name of a deity - can provide quite a lot of information about its bearer. Therefore, I felt obliged to start this article with inquiries pertaining to Inanna’s name - or rather names. I will not repeat how the two names - Inanna and Ishtar - came to be used interchangeably; this was covered on this blog enough times, most recently here. Through the article, I will consistently refer to the main discussed deity as Inanna for the ease of reading, but I’d appreciate it if you read the linked explanation for the name situation before moving forward with this one.

Sumerian had no grammatical gender, and nouns were divided broadly into two categories, “humans, deities and adjacent abstract terms” and “everything else” (Ilona Zsolnay, Analyzing Constructs: A Selection of Perils, Pitfalls, and Progressions in Interrogating Ancient Near Eastern Gender, p. 462; Piotr Michalowski, On Language, Gender, Sex, and Style in the Sumerian Language, p. 211). This doesn’t mean deities (let alone humans) were perceived as genderless, though. Furthermore, the lack of grammatical masculine or feminine gender did not mean that specific words could not be coded as masculine or feminine (Analyzing Constructs…, p. 471; one of my favorite examples are the two etymologically unrelated words for female and male friends, respectively malag and guli).

While occasionally doubts are expressed regarding the meaning of Inanna’s name, most authors today accept that it can be interpreted as derived from the genitive construct nin-an-ak - “lady of heaven” (Paul-Alain Beaulieu, The Pantheon of Uruk During the Neo-Babylonian Period, p. 104). The title nin is effectively gender neutral (Julia M. Asher-Greve, Joan Goodnick Westenholz, Goddesses in Context: On Divine Powers, Roles, Relationships and Gender in Mesopotamian Textual and Visual Sources, p. 6) - it occurs in names of male deities (Ningirsu, Ninurta, Ninazu, Ninagal, Nindara, Ningublaga...), female ones (Ninisina, Ninkarrak, Ninlil, Nineigara, Ninmug…), deities whose gender shifted or varied from place to place or from period to period (Ninsikila, Ninshubur, Ninsianna…) and deities whose gender cannot be established due to scarcity of evidence (mostly Early Dynastic oddities whose names cannot even be properly transcribed). However, we can be sure that Inanna’s name was regarded as feminine based on its Emesal form, Gašananna (Timothy D. Leonard, Ištar in Ḫatti: The Disambiguation of Šavoška and Associated Deities in Hittite Scribal Practice, p. 36).

The matter is a bit more complex when it comes to the Akkadian name Ishtar. In contrast with Sumerian, Akkadian, which belongs to the eastern branch of the family of Semitic languages, had two grammatical genders, masculine and feminine, though the gender of nouns wasn’t necessarily reflected in verbal forms, suffixes and so on (Analyzing Constructs…, p. 472-473). In contrast with the name Inanna, the etymology of the Akkadian moniker is less clear. The root has been identified, ˤṯtr, but its meaning is a subject of a heated debate (Aren M. Wilson-Wright, Athtart. The Transmission and Transformation of a Goddess in the Late Bronze Age, p. 22-23; the book is based on the author’s doctoral dissertation, which can be read here). Based on evidence from the languages from the Ethiopian branch of the Semitic family, which offer (distant) cognates, Wilson-Wright suggests it might have originally been an ordinary feminine (but not marked with an expected suffix) noun meaning “star” which then developed into a theonym in multiple languages (Athtart…, p. 21) She tentatively suggests that it might have referred to a specific celestial body (perhaps Venus) due to the existence of a more generic term for “star” in most Semitic languages, which must have developed very early (p. 24). Thus the emergence of Ishtar would essentially parallel the emergence of Shamash, whose name is in origin the ordinary noun for the sun (p. 25). This seems like an elegant solution, but as pointed out by other researchers some of the arguments employed might be shaky, so it’s best to remain cautious about quoting Wilson-Wright’s conclusions as fact, even if they are more sound than some of the older, largely forgotten, proposals (Ištar in Ḫatti…, p. 40-41).

In addition to uncertainties pertaining to the meaning of the root ˤṯtr, it’s also unclear why the name Ishtar starts with an i in Akkadian, considering cognate names of deities from other cultures fairly consistently start with an a. The early Akkadian form Eštar isn’t a mystery - it reflects a broader pattern of phonetic shifts in this language, and as such requires no separate inquiry, but the subsequent shift from e to i is almost unparalleled. Wilson-Wright suggests that it might have been the result of contamination with Inanna, which seems quite compelling to me given that by the second millennium BCE the names had already been interchangeable for centuries (Athtart…, p. 18).

As for grammatical gender, in Akkadian (as well as in the only other language from the East Semitic branch, Eblaite), the theonym Ishtar lacks a feminine suffix but consistently functions as grammatically feminine nonetheless. I got a somewhat confusing ask recently, which I assume was the result of misinterpretation of this information as applying to the gender of the bearer of the name as opposed to just grammatical gender of the name itself:

Occasional confusion might stem from the fact that in the languages from the West Semitic family (like ex. Ugaritic or Phoenician) there’s no universal pattern - in some of them the situation looks like in Akkadian, in some cognates without the feminine suffix refer to a male deity, furthermore goddesses with names which are cognate but have a feminine suffix (-t; ex. Ugaritic Ashtart) added are attested (Athtart…, p. 16). 

In Akkadian a form with a -t suffix (ištart) doesn’t appear as a theonym, only as the generic word, “goddess” - and it seems to have a distinct etymology, with the -t as a leftover from plural ištarātu (Athtart…, p. 18). The oldest instances of a derivative of the theonym Ishtar being used as an ordinary noun, dated to the Old Babylonian period (c. 1800 BCE), spell it as ištarum, without such a suffix (Goddess in Context…, p. 80). As a side note, it’s worth pointing out that both obsolete vintage translations and dubious sources, chiefly online, are essentially unaware of the existence of any version of this noun, which leads to propagation of incorrect claims about equation of deities (Goddesses in Context…, p. 82).

It has been argued that a further form with the -t suffix, “Ishtarat”, might appear in Early Dynastic texts from Mari, but this might actually be a misreading. This has been originally suggested by Manfred Krebernik all the way back in 1984. He concluded the name seems to actually be ba-sùr-ra-at (Baśśurat; something like “announcer of good news”; Zur Lesung einiger frühdynastischer Inschriften aus Mari, p. 165). Other researchers recently resurrected this proposal (Gianni Marchesi and Nicolo Marchetti, Royal Statuary of Early Dynastic Mesopotamia, p. 228; accepted by Dominique Charpin in a review of their work as well). I feel it’s important to point out that nothing really suggested that the alleged “Ishtarat” had much to do with Ishtar (or Ashtart, for that matter) in the first place. The closest thing to any theological information in the two brief inscriptions she appears in is that she is listed alongside the personified river ordeal, Id, in one of them. Marchesi and Marchetti suggest they form a couple (Royal Statuary…, p. 228); in absence of other evidence I feel caution is necessary. I’m generally wary of asserting deities who appear together once in an oath, greeting or dedicatory formula are necessarily a couple when there is no supplementary evidence. Steve A. Wiggins illustrated this issue well when he rhetorically asked if we should treat Christian saints the same way, which would lead to quite thrilling conclusions in cases like the numerous churches named jointly after St. Andrew and St. George and so on (A Reassessment of Asherah With Further Considerations of the Goddess, p. 101).

Even without Ishtarat, the Mariote evidence remains quite significant for the current topic, though. There’s a handful of third millennium attestations of a deity sometimes referred to as “male Ishtar” (logographically INANNA.NITA; there’s no ambiguity thanks to the second logogram) in modern publications - mostly from Mari. The problem is that this is most likely a forerunner of Ugaritic Attar, as opposed to a male form of the deity of Uruk/Zabalam/Akkad/you get the idea (Mark S. Smith, The God Athtar in the Ancient Near East and His Place in KTU 1.6 I, esp. p. 629; note that the deity with the epithet Sarbat is, as far as I know, generally identified as female though). 

Ultimately there is no strong evidence for Attar being associated with Inanna (his Mesopotamian counterpart in the trilingual list from Ugarit is Lugal-Marada) or even with Ashtart (Smith tentatively proposes the two were associated - The God Athtar.., p. 631 - but more recently in ‛Athtart in Late Bronze Age Syrian Texts he ruled it out, p. 36-37) so he’s not relevant at all to this topic. Cognate name =/= related deity, least you want to argue Zeus is actually Tyr; the similarly firmly male South Arabian ˤAṯtar is even less relevant (Athtart. The Transmission and Transformation…, p. 13). Smith goes as far as speculating the male cognates might have been a secondary development, which would render them even more irrelevant to this discussion (‛Athtart in Late…, p. 35).

There are also three Old Akkadian names which might refer to a masculine deity based on the form of the other element (Eštar-damqa, “E. is good”, Eštar-muti “E. is my husband”, and Eštar-pāliq, “E. is a harp”), but they’re an outlier and according to Wilson-Wright might be irrelevant for the discussion of the gender of Ishtar and instead refer to a deity with a cognate name from outside Mesopotamia (Athtart. The Transmission and Transformation…, p. 22). 

There’s also a possible isolated piece of evidence for a masculine deity with a cognate name in Ebla. Eblaite texts fairly consistently indicate that Inanna’s local counterpart Ašdar was a female deity. In addition to the equivalence between them attested in a lexical list, her main epithet, Labutu (“lioness”) indicates she was a feminine figure. However, Alfonso Archi argues that in a single case the name seems to indicate a god, as they are followed by an otherwise unattested “spouse” (DAM-sù), Datinu (Išḫara and Aštar at Ebla: Some Definitions, p. 16). The logic behind this is unclear to me and no subsequent publications offer any explanations so far. It might be worth noting that the Eblaite pantheon seemingly was able to accommodate two sun deities, one male and one female, so perhaps this is a similar situation.

It should also be noted that the femininity of Ishtar despite the lack of a feminine suffix in her name is not entirely unparalleled - in addition to Ebla, in areas like the Middle Euphrates deities with cognate names without the -t suffix might not necessarily be masculine, even when they start with a- and not i- like in Akkadian. In some cases the matter cannot be solved at all - there is no evidence regarding the gender of Aštar of the Stars (aš-tar MUL) from Emar, for instance. Meanwhile Aštar of Ḫaši and Aštar-ṣarbat (“poplar Aštar”) from the same site are evidently feminine (Athtart. The Transmission and Transformation…, p. 106). At least in the last case that’s because the name actually goes back to the Akkadian form, though (p. 85).

To sum up: despite some minor uncertainties pertaining to the Akkadian name, there’s no strong reason to suspect that any greater degree of ambiguity is built into either Inanna or Ishtar - at least as far as the names alone go. The latter was even seen as sufficiently feminine coded to serve as the basis for a generic designation of goddesses. 

Obviously, there is more to a deity than just the sum of the meanings of their names. For this reason, to properly evaluate what was up with Inanna’s gender it will be necessary to look into her three main roles: these of a war deity, personification of Venus and love deity.

Masculinity, heroism and maledictory genderbening: the warlike Inanna

An Old Babylonian plaque depicting armed Inanna (wikimedia commons)

Martial first, marital second?

War and other related affairs will be the first sphere of Inanna’s activity I’ll look into, since it feels like it’s the one least acknowledged online and in various questionable publications. Ilona Zsolnay points out that this even extends to serious scholarship to a degree, and that as a result her military side is arguably understudied (Ištar, Goddess of War, Pacifier of Kings: An Analysis of Ištar’s Martial Role in the Maledictory Sections of the Assyrian Royal Inscriptions, p. 389). The oldest direct evidence for the warlike role of Inanna are Early Dynastic theophoric names such as Inanna-ursag, “Inanna is a warrior”. Further examples are provided by a variety of both Sumerian and Akkadian sources from across the second half of the third millennium BCE. This means it’s actually slightly older than the first evidence for an association with love and eroticism, which can only be dated with certainty to the Old Akkadian period when it is directly mentioned for the first time, specifically in love incantations (Joan Goodnick Westenholz, Inanna and Ishtar in the Babylonian World, p. 336).

Deities associated with combat were anything but uncommon in Mesopotamia. There was no singular war god - Ninurta, Nergal, Zababa, Ilaba, Tishpak and an entire host of other figures, some recognized all across the region, some limited to one specific area or even just a single city, shared a warlike disposition. Naturally, the details could vary - Ninurta was essentially an avenger restoring order disturbed by supernatural threats, Nergal was a war god because he was associated with just about anything pertaining to inflicting death, and so on. 

All the examples I’ve listed are male, but similar roles are also attested for multiple goddesses, not just Inanna. Those include closely related deities like Annunitum or Belet-ekallim, most of her foreign counterparts, the astral deity Ninisanna (more on this figure later), but also firmly independent examples like Ninisina and the Middle Euphrates slash Ugaritic Anat (Ilona Zsolnay, Do Divine Structures of Gender Mirror Mortal Structures of Gender?, p. 114).

The god list An = Anum preserves a whole series of epithets affirming Inanna’s warlike character - Ninugnim, “lady of the army”; Ninšenšena, “lady of battle”; Ninmea, “lady of combat”; Ninintena, “lady of warriorhood” (tablet IV, lines 20-23; Wilfred G. Lambert and Ryan D. Winters, An = Anum and Related Lists, p.162). It is also well represented in literary texts. She is a “destroyer of lands” (kurgulgul) in Ninmesharra, for instance (Markham J. Geller, The Free Library Inanna Prism Reconsidered, p. 93).

At least some of the terms employed to describe Inanna in other literary compositions were strongly masculine-coded, if not outright masculine. The poem Agušaya characterizes her as possessing “manliness” (zikrūtu) and “heroism” (eṭlūtu; this word can also refer to youthful masculinity, see Analyzing Constructs…, p. 471) and calls her a “hero” (qurādu). Another example, a hymn dated to the reign of Third Dynasty of Ur or First Dynasty of Isin opens with an incredibly memorable line - “O returning manly hero, Inanna the lady (...)” (or, to follow Thorkild Jacobsen’s older translation, which involves some gap filling - “O you Amazon, queen—from days of yore, paladin, hero, soldier”; The Free Library… p. 93). 

A little bit of context is necessary here: while “heroism” might seem neutral to at least some modern readers, in ancient Mesopotamia it was seen as a masculine trait (Ištar, Goddess of War…, p. 392-393). It’s worth noting that eṭlūtum, which you’ve seen translated as “heroism” above can be translated in other context as  “youthful masculinity” (Analyzing Constructs…, p. 471). On the other hand, while zikrūtu is derived from zikāru, “male”, it might refer both straightforwardly to masculinity and more abstractly to heroism (Ištar, Goddess of War…, p. 397).

However, the same hymn which calls Inanna a “manly hero” refers to her with a variety of feminine titles like nugig. There’s even an Emesal gašan (“lady”) in there, you really can’t get much more feminine than that (The Free Library… p.  89). On top of that, about a half of the composition is a fairly standard Dumuzi romance routine (The Free Library… p. 90-91; more on what that entails later, for now it will suffice to say that not gender nonconformity). 

This is a recurring pattern, arguably - Agušaya, where masculine traits are attributed to Inanna over and over again, still firmly refers to her as a feminine figure (“daughter”, “goddess”, “queen”, “princess”, “mistress”, “lioness” and so on; Benjamin R. Foster, Before the Muses: an Anthology of Akkadian Literature, p. 160 and passim). In other words, the assignment of a clearly masculine sphere of activity and titles related to it doesn’t really mean Inanna is not presented as feminine in the same compositions.

How to explain this phenomenon? In Mesopotamian thought both femininity and masculinity were understood as me, ie. divinely ordained principles regulating the functioning of the cosmos. In modern terms, these labels as they were used in literary texts arguably had more to do with gender and gender roles than strictly speaking with biological sex (Ištar, Goddess of War…, p. 391-392). Ilona Zsolnay on this basis concludes that Inanna, while demonstrably regarded as a feminine figure, took on a masculine role in military context (Ištar, Goddess of War…, p. 401). This is hardly an uncommon view in scholarship (The Free Library…, p. 93; On Language…, p. 243). 

In other words, it can be argued that when the lyrical voice in Agušaya declares that “there is a certain hero, she is unique” (i-ba-aš-ši iš-ta-ta qú-ra-du; Before the Muses…, p. 98) the unique quality is, essentially, that Inanna fulfills a strongly masculine coded role - that of a “hero”, understood as a youthful, aggressive masculine figure - despite being female.

It should be noted that the ideal image of a person characterized by youthful masculinity went beyond just warfare, or abstract heroic adventures, though. The Song of the Hoe indicates that willingness to perform manual work in the fields was yet another aspect of it (Ilona Zsolnay, Gender and Sexuality: Ancient Near East, p. 277). This, as far as I know, was never attributed to Inanna.

Furthermore, the sort of youthful, aggressive masculinity we’re talking about here was regarded as something fleeting and temporary for the most part (at least when it came to humans; deities are obviously a very different story), and a very different image of male gender roles emerges from texts such as Instruction of Shuruppak, which extol a peaceful, reserved demeanor and the ability to provide for one’s family as masculine virtues instead (Gender and Sexuality…, p. 277-278). It might be worth pointing out that Sumerian outright uses two different terms to designate “youthful” (namguruš) and “senior” (namabba) masculinity (Gender and Sexuality…, p. 275); the general term for masculinity, namnitah, is incredibly rare in comparison  (Gender and Sexuality…, p. 276-277).

It needs to be pointed out that a further Sumerian term sometimes translated as “manliness” -  šul, which occurs for example in the hymn mentioned above - might actually be gender neutral; in addition to being used to describe mortal young men and Inanna, it was also applied as an epithet to the goddess Bau, who demonstrably was not regarded as a masculine figure; she didn’t even share Inanna’s warlike character (Analyzing Constructs…, p. 471). Perhaps the original nuance simply escapes us - could it be that šul was not strictly speaking masculinity, but some more abstract quality which was simply more commonly associated with men?

In any case, it’s hard to argue that Inanna really encompasses the entire concept of masculinity as the Mesopotamians understood it. At the same time, it is impossible to deny that she was portrayed as responsible for - and enthusiastically engaged in - spheres of activity which were seen as firmly masculine, and could accordingly be described with terms associated with them. Therefore, it would be more than suitable to describe her as gender nonconforming - at least when she was specifically portrayed as warlike. 

Perhaps Dennis Pardee was onto something when he completely sincerely described Anat, who despite being firmly a female figure similarly engaged in masculine pursuits (not only war, but also hunting) as a “tomboy goddess” (Ritual and Cult at Ugarit, p. 274). 

These observations only remain firmly correct as long as we assume that gender roles are a concept fully applicable to deities, of course - I’ll explore in more detail later whether this was necessarily true.

Royal curses and legal loopholes

A different side of Inanna as a war deity which nonetheless still has a lot to do with the topic of this article comes to the fore in curse formulas from royal inscriptions. Their contents are not quite as straightforward as imploring her to personally intervene on the battlefield. Rather, she was supposed to make the enemy unable to partake in warfare properly (Ištar, Goddess of War…, p. 390). Investigating how this process was imagined will shed additional light on how the Mesopotamians viewed masculinity, and especially the intersection between masculinity and military affairs.

The formulas under discussion start to appear in the second half of the second millennium BCE, with the earliest example identified in an inscription of the Middle Assyrian king Tukultī-Ninurta I (Gina Konstantopoulos, My Men Have Become Women, and My Women Men: Gender, Identity, and Cursing in Mesopotamia, p. 363).  He implored the goddess to punish his enemies by turning them into women (zikrūssu sinnisāniš) - or rather, by turning their masculinity into femininity, or at the very least some sort of non-masculine quality. The first option was the conventional translation for a while, but sinništu would be used instead of the much more uncommon sinnišānu if it was that straightforward. Interpreting it as “femininity” would parallel the use of zikrūti, “masculinity”, in place of zikaru, “man”. 

There are two further possible alternatives, which I find less plausible myself, but which nonetheless need to be discussed. One is that sinnišānu designated a specific class of women. Furthermore, there is also some evidence - lexical list entry from ḪAR.GUD, to be specific -  that sinnisānu might have been a synonym of assinnu, a type of undeniably AMAB, but possibly gender nonconforming, cultic performer (in older literature erroneously translated as “eunuch” despite lack of evidence; the second most beloved vintage baseless translation for any cultic terms after “sacred prostitute”, an invention of Herodotus), in which case the curse would involve something like “changing his masculinity in the manner of a sinnisānu” (Ištar, Goddess of War…, p. 394-396). However, Zsolnay herself subsequently published a detailed study of the assinnu, The Misconstrued Role of the assinnu in Ancient Near Eastern Prophecy, which casts her earlier proposal into doubt, as the perception of the assinnu as a figure lacking conventional masculinity might be erroneous. I’ll return to this point later. For now, it will suffice to say that on grammatical grounds and due to parallels in other similar maledictions, “masculinity into femininity” seems to be the most straightforward to me in this case.

The “genderbending” tends to be mentioned alongside the destruction of one’s weapons (My Men Have…, p. 363). This is not accidental - martial prowess, “heroism” and even the ability to bear weapons were quintessential masculine qualities; a man deprived of his masculinity would inevitably be unable to possess them. The masculine coding of weaponry was so strong that an erection could be metaphorically compared to drawing a bow (Ištar, Goddess of War…, p. 395).

Zsolnay points out the reversal of gender in curses is also coupled with other reversals: Inanna is also supposed to “establish” (liškun) the defeat (abikti) of the target of the curses - a future king who fails to uphold his duties - which constitutes a reversal of an idiom common in royal inscriptions celebrating victory (abikti iškun). The potential monarch will also be unable to face the enemy as a result of her intervention - yet again a reversal of a mainstay of royal declarations. The majesty and heroism of a king were supposed to scare enemies, who would inevitably prostrate themselves when faced by him on the battlefield (Ištar, Goddess of War…, p. 396-397). 

It is safe to say the goal of invoking Inanna in the discussed formulas was to render the target powerless. (Ištar, Goddess of War…, p. 396; My Men Have…, p. 366). Furthermore, they evoke a fear widespread in cuneiform sources, that of the loss of potency, which sometimes took forms akin to Koro syndrome or the infamous penis theft passages from Malleus Maleficarum (My Men Have…, p. 367). It is worth noting that male impotence could specifically be described as being “like a woman” (kīma sinništi/GIM SAL; Ištar, Goddess of War…, p. 395).

Gina Konstantopoulos argues that references to Inanna “genderbening” others occur in a different context in a variety of literary texts, for example in the Epic of Erra, where they’re only meant to highlight the extent of her supernatural ability. She also suggests that more general references to swapping left and right sides around, for example in Enki and the World Order, are further examples, as they “echo(...) the language of birth incantations” which ritually assigned the gender role to a child (My Men Have…, p. 368). She also sees the passage from the Epic of Gilgamesh describing the fates of various individuals who crossed her path and ended up transformed into animals as a result as a more distant parallel of the curse formulas (My Men Have…, p. 369). However, it needs to be pointed out this sort of shapeshifting is almost unparalleled in Mesopotamian literature (Frans Wiggermann, Hybrid creatures A. Philological. In Mesopotamia, p. 237), and none of the few examples involve a change of gender. The fact that the "genderbending" passages generally reflect a fear of loss of agency (especially on the battlefield) or potency, and by extension of independence tied to masculine gender roles, explains why they virtually never describe the opposite scenario, a mortal woman being placed in a masculine role through supernatural means as punishment (My Men Have…, p. 370). It might be worth pointing out that a long sequence of seemingly contradictory duties involving reversals is also ascribed to Inanna in a particularly complex Old Babylonian hymn (Michael P. Streck, Nathan Wasserman, The Man is Like a Woman, the Maiden is a Young Man. A new edition of Ištar-Louvre (Tab. I-II), p. 2-3). It also contains a rare case of bestowing masculine qualities upon women: “the man is like a woman, the maiden is like a young man” (zikrum sinništeš ardatu eṭel; The Man is Like…, p. 5). However, the context is not identical to the “genderbening” curses. The text is agreed to describe a performance during a specific festival. Other passages explicitly refer to crossdressing and rituals themed around reversal (šubalkutma šipru, "behavior is turned upside down"; The Man is Like…, p. 6). Furthermore, grammatical forms of verbs do not indicate a full reversal of gender (The Man is Like…, p. 31). Overall, I agree with Timothy D. Leonard’s cautious remark that in this context only religiously motivated temporary reversal of gender roles occurs, and we cannot use the passage to make far reaching conclusions about the participants’ identity (Ištar in Ḫatti…, p. 298).

It’s important to bear in mind that a performance involving crossdressing won’t necessarily involve people who are otherwise gender nonconforming, and it doesn’t necessarily have anything to do with the sexuality of the performer. While I typically avoid bringing up parallels from other cultures and time periods as evidence, I feel like this is illustrated quite well by the case of shirabyōshi, a type of female performer popular in Japan roughly from the second half of the Heian period to the late Kamakura period.

A 20th century depiction of a shirabyōshi (wikimedia commons)

They performed essentially in male formal wear, and with swords at their waists; their performance was outright called a “male dance” (Roberta Strippoli, Dancer, Nun, Ghost, Goddess. The Legend of Giō and Hotoke in Japanese Literature, Theater, Visual Arts, and Cultural Heritage, p. 28). Genpei jōsuiki nonetheless states that famous shirabyōshi were essentially the Japanese answer to the most famous historical Chinese beauties like Wang Zhaojun or Yang Guifei (Dancer, Nun…, p. 27-28). In other words, while the shirabyōshi crossdressed, they were simultaneously held to be paragons of femininity.

Putting crossdressing aside, it’s worth noting women taking masculine roles are additionally attested in legal context in ancient Mesopotamia, though only in an incredibly specific scenario. A man who lacked male heirs could essentially legally declare his daughter a son, so that she would be able to have the privileges as a man would with regards to inheritance. For example, in a text from Emar a certain mr. Aḫu-ṭāb formally made his daughter Alnašuwa his heir due to having no other descendants, and explained that as a result she will have to be “both male and female” (NITA ù MUNUS) - effectively both a son and a daughter - to keep the process legitimate. Once Alnašuwa got married, her newfound status as a son of her father was legally transferred to her husband, though. Evidently no supernatural powers were involved at any stage, only an uncommon, but fully legitimate, legal procedure (My Men Have…, p. 370-372). It should be noted that when male by proxy, Alnašuwa was explicitly not expected to perform any military roles - her father only placed such an exception on potential grandsons (My Men Have…, p. 370). Therefore, the temporary masculine role she was granted was arguably not the same as the sort of masculinity curses were supposed to take away, or the sort Inanna could claim for herself to a degree.

Luminous beards and genderfluid planets: the astral Inanna (and her peers)

A standard Mesopotamian depiction of the planet Venus (Dilbat) on a late Kassite boundary stone (wikimedia commons)

Male in the morning, female in the evening (or the other way round)?

While the inquiry into Inanna’s military aspect revealed a fair amount of evidence for gender nonconformity, it would be disingenuous on my part to end the article on just that. A slightly different phenomenon is documented with regards to her astral side - or perhaps with regards to the astral side of multiple deities, to be more precise.

To begin with, in Mesopotamian astrology Venus (Dilbat) was one of the two astral bodies which were described as possessing two genders, the other being Mercury (Erica Reiner, Astral Magic in Babylonia, p. 6; interestingly, it doesn’t seem any deity associated with Mercury acquired this characteristic unless you want to count a possible late case from outside Mesopotamia). The primary sources indicate that this reflected the fact Venus is both the morning star and the evening star, though there was no agreement between ancient astronomers which one of them was feminine and which masculine (Ulla Koch-Westenholz, Mesopotamian Astrology. An Introduction to Babylonian and Assyrian Celestial Divination, p. 40). We even have a case of a single astrologer, a certain Nabû-ahhe-eriba, alternating between both options in his personal letters (p. 126). It needs to be pointed out that while some interest in stars and planets might already be attested in Early Dynastic sources, its scope was evidently quite limited and astrology didn’t develop yet (Mesopotamian Astrology…, p. 32). No astrological texts predate the Old Babylonian period, and most of the early ones are preoccupied with the moon (p. 36-37), though the earliest evidence for astrological interest in Venus are roughly contemporary with them (p. 40). Astronomical observations of this planet were certainly already conducted for divinatory purposes during the reign of Ammisaduqa, and by the seventh century BCE experts were well familiar with its cycle and made predictions on this basis (p. 126).

Inanna’s association with Venus predates the dawn of astrology by well over a millennium. It likely goes back all the way up to the Uruk period - if not earlier, but that sort of speculation is moot because you can’t talk about Mesopotamian theology with no textual sources, and these are fundamentally not something available before the advent of writing. The earliest evidence are archaic administrative texts which separately record offerings for Inanna hud, “Inanna the morning” and Inanna sig, “Inanna the evening” (Inanna and Ishtar…, p. 334-335). However, it is impossible to tell if this was already reflected in any sort of ambiguity or fluidity of gender. It also needs to be noted the archaic text records two more epithets, Inanna NUN, possibly “princely Inanna” (p. 334; this is actually the single oldest one) and Inanna KUR, possibly a forerunner of later title ninkurkurra, “lady of the lands” (p. 335). Therefore, Inanna was arguably already more than just a deity associated with Venus.

It’s up for debate to which degree an astral body was seen as identical with the corresponding deity in later periods (Spencer J. Allen, The Splintered Divine. A Study of Ištar, Baal, and Yahweh Divine Names and Divine Multiplicity in the Ancient Near East, p. 41-42). There is evidence that Inanna and the planet Venus could be viewed as separate, similarly to how the moon observed in the sky could be treated as distinct from the moon god Sin (p. 40). The most commonly cited piece of evidence is that astrological texts fairly consistently employ the name Dilbat to refer to the planet instead of Inanna’s name or one of the logograms used to represent it, like the numeral 15 (p. 42).

Regardless of these concerns, one specific tidbit pertaining to astrological comments on Venus is held as particularly important for possible ambiguity or fluidity of Inanna’s gender, and even lead to arguments that masculine depictions might be out there: the planet can be described as bearded (Astral Magic…, p. 6). Omens attesting this are most notably listed in the compendium Iqqur īpuš (Erica Reiner, David Pingree, Babylonian Planetary Omens vol. 3, p. 10-11). it should be noted that the planet is referred to only as Dilbat in this context (see ex. Babylonian Planetary…, p. 105 for an example). I’m only aware of two texts where this feature is transferred to the corresponding deity: the syncretic hymn to Nanaya and Ashurbanipal’s hymn to Ishtar of Nineveh. Is the beard really a beard, though? Not necessarily, as it turns out.

The passage from the hymn of Ashurbanipal has been recently discussed by Takayoshi M. Oshima and Alison Acker Gruseke (She Walks in Beauty: an Iconographic Study of the Goddess in a Nimbus, p. 62-63). They point out that ultimately there are no certain iconographic representations of bearded Ishtar. There are a few proposed ones on cylinder seals but this is a minority position relying on doubtful exegesis of every strand of hair in sight; no example has anything resembling the “classic” Mesopotamian beard. I’ll return to this problem in a bit.

In any case, the authors of the aforementioned paper argue the key to interpreting the passage is the fact that the reference to the beard (or rather beards in the plural) occurs in an enumeration of strictly astral, luminous characteristics, like being “clothed in brilliance” (namrīrī ḫalāpu). Furthermore, they identify a parallel in the Great Hymn to Shamash: the rays of the sun are described as “beards” (ziqnāt), and occur in parallel with “splendor” (šalummatu) and “lights” (namrīrū). Therefore, they assume the “beard” might be a metaphorical term for a ray of light, rather than facial hair. This would match actually attested depictions - in the first millennium BCE, especially in Assyria, images of a goddess surrounded by rays of light or a large halo of sorts are very common.

A goddess surrounded by a halo on a Neo-Assyrian seal (wikimedia commons)

Perhaps most importantly, this interpretation is also confirmed by the astronomical texts which kickstarted the discussion. The phrase ziqna zaqānu, “to have a beard”, is explained multiple times as reflection of an unusual luminosity when applied to Venus. The authors additionally argue that it is possible the use of the term “beard” was originally tied to the triangular portions of the emblems of Inanna and her twin (which indeed represent the luminosity of Venus and the sun) to explain why a plurality of “beards” is relatively common in the discussed descriptions (p. 64).

As I said before, the second example is a hymn to Nanaya. It’s easily one of my favorite works of Mesopotamian literature, and a few years ago it kickstarted my interest in its “protagonist”, but tragically most of it is completely irrelevant to this article. The gist of it is fairly simple: the entire composition is written in first person, and in each strophe Nanaya claims the prerogatives of another deity before reasserting herself: “still I am Nanaya” (Goddesses in Context…, p. 116-117). The “borrowed” attributes vary from abstract cosmic powers to breast size. The deities they are linked with range from the most major members of the pantheon (Inanna, Gula, Ishara, Bau…) through spouses of major deities (Shala, Damkina…) to obscure oddities (Manzat, the personified rainbow); there’s even one who’s otherwise entirely unknown, Šuluḫḫītum (for a full table see Erica Reiner’s A Sumero-Akkadian Hymn of Nanâ, p. 232).

As expected, the strophe relevant to the current topic is the one focused on Inanna, in which Nanaya proudly exclaims “I have a beard (ziqna zaqānu) in Babylon”, in between claiming to have “heavy breasts in Daduni” (Reiner notes this is not actually an attested attribute of Inanna, and suggests the line might be a pun on the name of the city mentioned in it, Daduni, and the word dādu) and appropriating Inanna’s family tree for herself (A Sumero-Akkadian…, p. 233).

A possible late depiction of Nanaya (wikimedia commons)

It needs to be stressed that Nanaya’s gender shows no signs of ambiguity anywhere; quite the opposite, she was the “quintessence of womanhood“ (Olga Drewnowska-Rymarz, Mesopotamian Goddess Nanāja, p. 156). I would argue the most notable case of something along the lines of gender nonconformity in a source focused on her occurs in the sole known example of a love poem starring her and her sparsely attested Old Babylonian spouse Muati. 

Muati is asked to intercede with Nanaya on behalf of a petitioner (Before the Muses…, p. 160), which usually was the role performed of the wife of a major male deity (or by Ninshubur in Inanna’s case; Goddesses in Context…, p. 273). Sadly, despite recently surveying most publications mentioning Muati I haven’t found any substantial discussion of this unique passage, and I’m not aware of any parallels involving other couples where the wife was a more important deity than the husband (like Ninisina and Pabilsag).

A further issue for the beard passage is that Nanaya had no connection to Venus to speak of -  she could be described as luminous, but she was only compared to the sun, the moon, and unspecified stars (Mesopotamian Goddess Nanāja, p. 153-155).

Given that the hymn most likely dates to the early first millennium BCE (Goddesses in Context…, p. 116), yet another problem for the older interpretation is that the city of Babylon at this point in time is probably the single worst place for seeking any sort of gender ambiguity when it comes to Inanna.

After the end of the Kassite period, Babylon became the epicenter of Marduk-centric theological ventures which famously culminated in the composition of Enuma Elish. What is less well known is that as a part of the same process, attempts were made to essentially fuse Bēlet-Bābili (“lady of Babylon”) - the main (but not only) local form of Inanna, regarded as distinct from Inanna of Uruk (the “default” Inanna) - with Zarpanitu (The Pantheon…, p. 75-76). Zarpanitu was effectively the definition of an indistinct spouse of another deity - there’s not much to say about her character other than that she was Marduk’s wife (Goddesses in Context…, p. 92-93). Accordingly, it is hard to imagine that the contemporary “lady of Babylon” would be portrayed as bearded.

During the reign of Nabu-shuma-ishkun in the eighth century BCE an attempt to extend the new dogma to Inanna of Uruk was made, though this was evidently considered too much for contemporary audiences. Multiple sources display varying degrees of opposition to replacement of Inanna in the Eanna by a goddess who didn’t belong there, presumably either Zarpanitu or at the very least Bēlet-Bābili after “Zarpanituification” so severe she no longer bore a sufficient resemblance to her Urukuean colleague (The Pantheon…, p. 76-77). Inanna of Uruk was restored during the reign of Nebuchadnezzar II, who curiously affirmed that her temple was temporarily turned into the sanctuary of an “inappropriate goddess” (The Pantheon…, p. 131). However, the Marduk-centric ventures left a lasting negative impression in Uruk nonetheless, and in the long run lead to quite extreme reactions, culminating in the establishment of an active cult of Anu for the first time, but that’s another story (I might consider covering it in detail if there’s interest).

To go back to the hymn to Nanaya one last time, it’s interesting to note that a single copy seems to substitute ziqna zaqānu for zik-ra-[...], possibly a leftover of zikrāku, “manly”. Takayoshi M. Oshima and Alison Acker Gruseke presume this is only a scribal mistake, since this heavily damaged exemplar is rife with typos in general (She Walks…, p. 63), though I’m curious if perhaps a reference to the military character of Inanna herself or Annunitum was meant. This would line up with evidence from Babylon to a certain degree, since through the first millennium BCE Annunitum was worshiped there in her own temple (Goddesses in Context…, p. 105-106). However, in the light of what is known about this unique variant, it’s best to assume that it is indeed a typo and the hymn simply refers to luminosity. 

While no textual sources earlier (or later, for that matter) than the two hymns discussed above attribute a beard to Inanna (Zainab Bahrani, Women of Babylon. Gender and Representation in Mesopotamia, p. 182), the most commonly cited example of a seal with a supposedly bearded depiction is considerably earlier (Ur III, so roughly 2100 BCE, long before any references to “bearded Venus”). It comes from the Umma area judging from the name and title of its owner, a certain Lu-Igalima, a lumaḫ priest of Ninibgal (“lady of the [temple] Ibgal”, ie. Inanna’s temple in Umma). However, Julia M. Asher-Greve  points out that the beard is likely to be a strand of hair, since contemporary parallels supporting this interpretation are available, for example a seal of a priest of Inanna from Nippur, Lugalengardu. Furthermore, she notes that the seal cutter was seemingly inexperienced, since the detail is all around dodgy, for example Inanna’s foot seems to be merged with the head of the lion she stands on (Goddesses in Context…, p. 208). Looking at the two images side by side, I think this is a compelling argument, since the beard doesn’t really look like, well, a typical Mesopotamian beard, while the hairdo on the Nippur seal is indeed similar:

Both images are screencaps from Goddesses in Context, p. 403; reproduced here for educational purposes only.

While I think the beard-critical arguments are sound, this is not the only possible kind of depiction of Inanna argued to reflect the fluidity of gender attributed to the planet Venus.

Paul-Alain Beaulieu notes that an inscription of Nebuchadnezzar with a dedication to Inanna of Uruk she might be called both the lamassu, ie. “protective goddess”, of Uruk and šēdu, ie. “protective genius”, of Eanna; the latter is an invariably masculine term. However, it is not entirely clear if the lamassu and šēdu invoked here are both really a partially masculine Ishtar, since there’s a degree of ambiguity involved in the concept of protective deity or deities of a temple - while there’s evidence for outright identification with the main deity of a given house of worship, they could also be separate, though closely related, and Beaulieu ultimately remains uncertain which option is more plausible here (The Pantheon…, p. 137-138). He also points out that there’s some late evidence for apotropaic figures with two faces, male and female, which were supposed to represent a šēdu+lamassu pair, but rules out the possibility that these have anything to do with Ishtar, since two faces are virtually never her attribute (The Pantheon…, p. 137).  There is a single possible exception from this rule, but it’s an outlier so puzzling it’s hard to count it. A single Neo-Assyrian text from Nineveh (KAR 307) describes Ishtar of Nineveh (there is a reason why I abstain from using the name Inanna here, as you’ll see later) as four-eyed, which Beaulieu suggests might mean the deity had a male face and a female face. The same source also states that Ishtar of Nineveh is Tiamat and has “upper parts of Bel” and “lower parts of Ninlil”, though (The Pantheon…, p. 137), so it’s probably best not to think of it too much - Tiamat is demonstrably not a figure of much importance in general, let alone in the context of Inanna-centric considerations.

The same text has been interpreted differently by Wilfred G. Lambert. He concludes that it’s ultimately probably an esoteric Enuma Elish commentary and that it might have been cobbled together by a scribe from snippers of unrelated, contradictory sources (Babylonian Creation Myths, p. 245). If correct, this would disprove Beaulieu’s proposal, since the four eyes would simply reflect the description of Marduk (Bel) in EE (tablet I, line 55: “Four were his eyes, four his ears”). I lean towards Lambert’s interpretation myself; the reference to Tiamat is the strongest argument, outside EE and derived commentaries she was basically a non-entity. I’ll go back to the topic of Ishtar of Nineveh later, though - there is a slim possibility that two faces might really be meant, though this would take us further away from Inanna, all the way up to ancient Anatolia.

As a final curiosity it’s worth pointing out that while this is entirely unrelated to the discussed matter, KAR 307 is also the same text which (in)famously states Tiamat has the form of a dromedary. As odd as that sounds, it’s much easier to explain when you realize that the Akkadian term for this animal, when broken down to individual logograms, could be interpreted as “donkey of the sea” - and Tiamat’s name was derived from the ordinary Akkadian word “sea” (Babylonian Creation…, p. 246).

The Red Lady of Heaven, my king

While both the bearded and two faced Inannas are likely to be mirages, this doesn’t mean the dual gender of Venus was not reflected in the world of gods. The result was a bit more complex than the existence of a male Inanna, though.

In addition to being Inanna’s astral attribute, Venus simultaneously could be personified under the name Ninsianna. Ninsianna could be treated as a title of Inanna - this is attested for example in a hymn from the reign of Iddin-Dagan of Isin  - but unless explicitly stated, should be treated as a separate deity. This is evident especially in sources from Larsa, where the two were worshiped entirely separately from each other (Goddesses in Context…, p. 92).

Ninsianna’s name can be literally translated as “red lady of heaven” (Goddesses in Context…, p. 86), though as I already explained earlier, nin is actually gender neutral - “red lord of heaven” is theoretically equally valid. And, as a matter of fact, it is necessary to employ the latter translation in some cases - an inscription of Rim-Sin I refers to Ninsianna with the firmly masculine title lugal, “king” (Wolfgang Heimpel, Ninsiana, p. 488). 

It seems safe to say that in Ninsianna’s case we’re essentially dealing with a deity who truly was like Venus. Timothy D. Leonard stresses that while frequently employed in past scholarship, the labels “hermaphroditic” and “androgynous” do not describe the phenomenon accurately. What the sources actually present is a deity who switches between a male form and a female one (Ištar in Ḫatti…, p. 226). In other words, if we are to apply a contemporary label, it seems optimal to say Ninsianna was perceived as genderfluid.

Interestingly, though, it seems that Ninsianna’s gender varied by location as well (Goddesses in Context…, p. 92). The worship of feminine Ninsianna is attested for example in Nippur (Goddesses in Context…, p. 101) and Uruk (Goddesses in Context…, p. 126), masculine - in Sippar-Amnanum, Girsu and Ur (Ninsiana, p. 488-489). No study I went through speculated what the reasons behind this situation might have been. Was Ninsianna’s gender locally viewed as less flexible than the discussed theological texts indicate? Were specific sanctuaries dedicated only to a specific aspect of this deity - only the “morning” Ninsianna or “evening” Ninsianna? For the time being these questions must remain unanswered in most cases. 

There’s a single case where the preference for feminine Ninsianna was probably influenced by an unparalleled haphazard theological innovation, though - in Isin in the early second millennium BCE the local dynasty lost control over Uruk, and as a result access to royal legitimacy granted symbolically by Inanna. To remedy that, the tutelary goddess of their capital was furnished with similar qualifications through a leap of logic relying on one hand on the close association between Inanna and Ninsianna, and on the other on the phonetic (but not etymological) similarity between the names of Ninisina and Ninsianna (Goddesses in Context…, p. 86). As far as I know, this did not influence the perception of Ninisina’s gender in any shape or form, though.

An interesting extension of the phenomenon of Ninsianna’s gender is this deity’s association with an even more enigmatic figure, Kabta. Only two things can be established about Kabta with certainty: that they were an astral deity, and that they were associated in some way with Ninsianna; even their gender is uncertain (Wilfred G. Lambert, Kabta, p. 284).

It might be worth pointing out that as a result Kabta and Ninsianna seem to constitute the first case of a Mesopotamian deity of variable (Ninsianna) or uncertain (Kabta) gender being referred to with a neutral pronoun in an Assyriological publication - Ryan D. Winters’ commentary on their entries in a variety of god lists employs a singular they (An = Anum…, p. 34):

Wilfred G. Lambert argued that the two were spouses (Kabta, p. 284). More recently the same point has been made by Winters based on Kabta’s placement after Ninsianna in An = Anum, and directly before Dumuzi in an Old Babylonian forerunner of this list (An = Anum…, p. 22). However, I feel obliged to point out that An = Anum, which fairly consistently identifies spouses as such, does not actually specify the nature of the connection between the two. Once the enumeration of Ninsianna’s names finishes, the list simply switches to Kabta’s (An = Anum…, p. 170). 

In another god list, which is rather uncreatively referred to as “shorter An = Anum” due to sharing the first line with its more famous “relative” but lacking its sheer scope, names of Kabta are listed among designations for Inanna’s astral forms, which would have interesting implications for the nature of the supposed relationship between them and Ninsianna (An = Anum…, p. 34). Furthermore, as noted by Jeremiah Peterson, both of them, as well as Kabta’s alternate name Maḫdianna and a further astral deity, Timua, are also glossed as Ištar kakkabi - in this case according to him likely a generic moniker “goddess of the star” as opposed to “Ishtar of the star” - in a variety of lexical lists (God Lists from Old Babylonian Nippur, p. 58). 

In the light of the somewhat confusing evidence summarized above, further inquiries into both Kabta’s character and the nature of the connection between them and Ninsianna are definitely necessary. Assuming that they were spouses, how did theologians who adhered to this view deal with them also being treated as two manifestations of one being instead (I suppose you could easily put a romantic spin on that, to be fair)? Did Kabta’s gender change alongside Ninsianna’s, or perhaps following a different scheme, or was this a characteristic they lacked? Unless new sources emerge, this sadly must remain the domain of speculation.

Ninsianna’s fluid gender also has to be taken into account while discussing one further deity, Pinikir. The discovery of a fragmentary god list in Emar made it possible to establish the latter was regarded as the Hurrian equivalent of the former (Ištar in Ḫatti…, p. 224; note that there seems to be a typo here, the list is identified as An = Anum but it’s actually the Weidner god list). This deity similarly was understood as a personification of Venus (Piotr Taracha, Religions of Second Millennium Anatolia, p. 99) and was in a certain capacity associated with Inanna - however, as it will become evident pretty quickly these weren’t the only analogies with Ninsianna.

Despite appearing in Emar in Hurrian context, Pinikir actually originated to the east of Mesopotamia, in Elam (Ištar in Ḫatti…, p. 223). Her name cannot yet be fully explained due to imperfect understanding of Elamite, but it is clear that the suffix -kir is feminine and means “goddess” (Ištar in Ḫatti…, p. 237; cf. the not particularly creatively named Kiririsha, “great goddess”). Sources from Anatolia recognize Pinikir as an Elamite deity, though direct transfer from one end of the “cuneiform world” to the other is unlikely (Ištar in Ḫatti…, p. 236). Most likely, Hurrians received Pinikir through Mesopotamian intermediaries in the late third or early second millennium BCE, and later introduced this deity further west (Ištar in Ḫatti…, p. 237). We know Mesopotamians were aware of her thanks to the god list Anšar = Anum, where the name occurs among what may or may not be an enumeration of deities regarded as Inanna’s foreign counterparts (An = Anum…, p. 36). For the time being it is not possible to track this process directly, though - it’s all educated guesswork.

While as far as I am aware none of the few Elamite sources dealing with Pinikir provide much theological information about her, and none hint at her gender being anything but feminine, Hurro-Hittite texts from Anatolia indicate that at least in this context, like Ninsianna in Mesopotamia, she came to be seen as a genderfluid deity, sometimes counted among gods, sometimes among goddesses (Gary Beckman, The Goddess Pirinkir and her Ritual from Ḫattuša (CTH 644), p. 25). Firmly feminine Pinikir occurs in a ritual text (KUB 34.102) which refers to her in Hurrian as Allai-Pinikir, “lady Pinikir”; interestingly this is the only case where she is provided with an epithet in any Anatolian source (Ištar in Ḫatti…, p. 211). However, there are examples of ritual texts where Pinikir is listed among male deities (Ištar in Ḫatti…, p. 229). He is also depicted in the procession of gods in the famous Yazilikaya sanctuary in a rather striking attire:

I know, I know, the state of preservation leaves much to be desired (wikimedia commons) This isn’t just any masculine clothing - the outfit is only shared with two other figures depicted in this sanctuary, the sun god Shimige and the Hittite king (The Goddess Pirinkir…, p. 25-26):

Shimige (left; wikimedia commons) and the king (right; also wikimedia commons)

Piotr Taracha argues that it reflects the attire worn by the Hittite king when he fulfilled his religious duties (Religions of…, p. 89); Pinikir’s isn’t identical - it’s only knee length, like the more standard masculine garments - but the skullcap is pretty clearly the same. He is also winged, which is a trait only shared with the moon god and one more figure (more on them in a bit), and likely reflects celestial associations (Ištar in Ḫatti…, p. 211). All the same traits are also preserved on a small figurine of Pinikir from the collection of the MET:

A much better preserved masculine Pinikir (MET)

It’s therefore probably safe to say that the male form had a fairly consistent iconography, which furthermore was patterned on what probably was an archetypal image of masculinity to Hurro-Hittite audiences. The king, whose appearance is reflected in Pinikir’s iconography, was, after all, supposed to be not just any man, but rather the foremost example of idealized masculinity (Mary R. Bachvarova, Wisdom of Former Days: The Manly Hittite King and Foolish Kumarbi, Father of the Gods, p. 83-84).

Since we started this section with beards, we may as well end with them - I feel obliged to point out that no matter how clearly described as masculine, neither Ninsianna nor Pinikir were ever described (let alone depicted) as bearded. 

It is difficult for me to estimate to which degree the information about the genderfluidity of Ninsianna and Pinikir can be used to elucidate in which way the association with Venus influenced the perception of Inanna’s gender. However, it seems safe to say the focus on secondary physical characteristics made some authors miss the forest for the trees. I’ll leave it as an open question whether Inanna could be interpreted similarly to her even more Venusian peers, but I’m fairly sure that a metaphorical beard is unlikely to have anything to do with the answer.

Excursus: “the masculinity and femininity of Shaushka”, or when an Ishtar is not Ishtar

Bringing up the masculine Pinikir, and the matter of possible genderfluidity of deities in Mesopotamia and nearby areas, makes it necessary to also discuss Shaushka. The two of them appear mere two lines apart in Anšar = Anum  (An = Anum…, p. 36), though they were not closely associated with each other - rather, they were both deities associated with Inanna who happened to belong to the same cultural milieu.

Mx. Worldwide: the transmission of Shaushka across the cuneiform world

Shaushka was originally the tutelary deity of Nineveh, but the attestations span almost the entire “cuneiform world” - from Nineveh in the north to Lagash in the south, from Hattusa in the west, through Ugarit and various inland Syrian cities all the way up to Arrapha in the east. There are simply too many of them to cover everything here.

The oldest known reference to Shaushka (which doubles as the first reference to the city of Nineveh) occurs in a text from the Ur III period. It’s not very thrilling - it’s only an administrative text mentioning the offering of a sheep made on behalf of the king of the Ur III state (Gary Beckman, Ištar of Nineveh Reconsidered, p. 1). The earliest sources render the name as Shausha; the infix -k- which only starts to appear consistently later on is presumed to be an honorific, or less plausibly a diminutive (Ištar in Ḫatti…, p. 55-56). Either way, it is agreed it can be translated simply as “the great one” (Ištar in Ḫatti…, p. 56) - a pretty apt description of its bearer.

Ur III attestations of Shaushka are sparse otherwise: a textile offering in Umma (possibly a garment for a statue), a handful of theophoric names like Ur-Shausha and Geme-Shausha in Lagash, and that’s basically it (Tonia Sharlach, Foreign Influences on the Religion of the Ur III Court, p. 106). Still, it’s probably safe to say it’s one of the examples of a broader pattern of interest in Hurrian religion evident in the courtly documents from this period, and in the appointment of a number of Hurrian diviners to relatively prestigious positions. Whether such experts might have influenced the introduction of Shaushka and other Hurrian deities who entered lower Mesopotamia roughly at the same time (for example Allani from Zimudar or Shuwala from Mardaman) remains an open question (Foreign Influences…, p. 111-114).

A degree of equivalence between Shaushka and Inanna was already recognized in the early second millennium BCE, as evidenced by a tablet from the northern site of Shusharra dated to the reign of Shamshi-Adad which records an offering made to “Ishtar of Nineveh” (Ištar in Ḫatti…, p. 58). However, it might have happened as early as half a millennium earlier, during the Sargonic period - Gary Beckman suggests the identification between the two might have initially occurred simply due to the importance assigned to Inanna by rulers of the Akkadian Empire (Ištar of Nineveh…, p. 2). 

Furthermore, a number of later Mesopotamian lexical lists label Shaushka as “Ishtar of Subartu” - a common designation for the core Hurrian areas (Ištar of Nineveh…, p. 2). Meanwhile, Hurrians and cultures influenced by them used the name Ishtar as a logogram to represent Shaushka (Ištar in Ḫatti…, p. 46). Furthermore, they placed Shaushka in Uruk in an adaptation of the Epic of Gilgamesh (Ištar in Ḫatti…, p. 125). One is forced to wonder if perhaps from the Hurrian interpreter’s perspective Inanna was some sort of foreign Shaushka ersatz, not the other way around.

Despite Shaushka’s origin in the Hurrien milieu of northernmost part of Mesopotamia, the bulk of attestations actually come from Hittite Anatolia (Ištar of Nineveh…, p. 2). Kizzuwatna, a kingdom in southeastern Anatolia, was the middleman in this transmission (Ištar in Ḫatti…, p. 95). The earliest evidence for Hittite reception of Shaushka is an oracle text from either the late fifteenth or early fourteenth century BCE (Ištar in Ḫatti, p. 84). However, save for the capital, Hattusa, no major cities were ever identified as cult centers of this deity, and they were seemingly worshiped largely within the southern and eastern periphery of the Hittite empire (Ištar in Ḫatti…, p. 94). Most of the ritual texts Shaushka appears in accordingly appear to have Kizzuwatnean, or at least broadly Hurrian, background (Ištar in Ḫatti…, p. 87).

Is non-astral genderfluidity possible, or what’s up with Shaushka’s gender?

Probably the most fascinating aspect of Shaushka’s character is the apparent coexistence of a female and a male form of this deity. The best known example of this phenomenon are the Yazilikaya reliefs, where a masculine form, with unique attributes including a robe leaving one leg exposed and wings, marches with the gods (with the handmaidens Ninatta and Kulitta - more on them later - in tow) while a caption accompanying a damaged relief indicates a feminine one was originally depicted in the procession of identically depicted goddesses (The Splintered Divine…, p. 75).

Masculine Shaushka (right) accompanied by Ninatta and Kulitta (wikimedia commons)

A restoration of the procession of goddesses, including feminine Shaushka (wikimedia commons)

A number of epithets applied to Shaushka were similarly explicitly feminine, for instance Hurrian “lady of Nineveh” (allai Ninuwawa) and Hittite “woman of that which is repeatedly spoken” (taršikantaš MUNUS-aš), implicity something like “woman of incantations” (Ištar of Nineveh…, p. 5); magic was apparently understood as a particular competence of this deity (Ištar of Nineveh…, p. 6). There is even a singular case of an incantation being explicitly attributed to Shaushka (Ištar in Ḫatti…, p. 98). 

Literary texts, chiefly myths from the so-called Kumarbi cycle, generally portray Shaushka as feminine too, and more as a love deity (to be precise, as something along the lines of a heroic equivalent of a femme fatale) rather than as a warlike one (Ištar in Ḫatti…, p. 85). Mary R. Bachvarova tentatively suggests that a reference to possibly masculine Shaushka might be present in the first of its parts, Song of Going Forth (also known as Song of Kumarbi), which mentions a deity of uncertain gender designated by the logogram KA.ZAL, “powerful”, which she argues has the same meaning as Shaushka’s name (Wisdom of Former…; p. 95 for the text itself, p. 106 for commentary). However, I’m not aware of any subsequent studies adopting this view.

Regardless of the contents of the literary texts available to us presently, Shaushka is explicitly counted among male deities in CTH 712. The enumeration in this ritual text also includes the “femininity and masculinity” of this deity. The male form of Pinikir is there too, though without a separate entry dedicated to any of his attributes or characteristics (Ištar in Ḫatti…, p. 219). Another example might be less direct: two descriptions of depictions of Shaushka use the terms “helmeted” (kurutawant), which referred to headwear worn by gods, as opposed to “veiled” (ḫupitawant), which referred to the typical headwear of goddesses. This lines up with the relief of masculine Shaushka from Yazilikaya (Ištar in Ḫatti…, p. 300).

A detail I haven’t seen brought up in any discussion of Shaushka’s gender which I personally think might be relevant to this topic is that their name occurs as a theophoric element both in feminine and masculine Hurrian theophoric names, which is otherwise entirely unheard of. Hurrians evidently were more rigid than Mesopotamians when it comes to theophoric elements in given names, as goddesses occur only in names of women and gods in names of men (Gernot Wilhelm, Name, Namengebung D. Bei den Hurritern, p. 125). 

Interestingly, Hittite sources pertaining to Shaushka offer a parallel to the “genderbending” curse formulas as well (My Men Have…, p. 363-364; note they are actually slightly earlier than the Assyrian examples). In a few cases, including a prayer and military oaths, this deity is implored to deprive foreign adversaries of the Hittite empire of their masculinity and courage, to take away their weapons, and to make them dress like women (Ištar in Ḫatti…, p. 90).

How did this aspect of Shaushka’s character develop? I’d assume that in contrast with Ninsianna and Pinikir, the influence of astronomical ideas about Venus can probably be ruled out. Beckman stresses that at least in Anatolian context Shaushka was evidently not an astral deity (Ištar of Nineveh…, p. 7). Timothy D. Leonard argues that the wings, which only the male form possesses, likely reflect a celestial role, but he doesn’t explore the point further (Ištar in Ḫatti…, p. 211). However, he notes that only Pinikir is explicitly identified with Venus in Hurro-Hittite sources, and presumably fulfilled the role of personification of this astral body alone (p. 225). 

Leonard argues that it cannot be established with certainty whether Shaushka  was perceived as capable of taking both male and female forms, as existing simultaneously as a male and female deity (with two bodies, presumably), or if they should be regarded as androgynous. However, he notes that there is no evidence for the recognition of any sort of nonbinary identity in known Hittite sources - so at least implicitly, he assumes the gender of both of the forms would need to be binary (Ištar in Ḫatti…, p. 298). 

It needs to be noted that the validity of applying the label “androgynous” to Shaushka has already been questioned all the way back in 1980(!) - in the first detailed study of Shaushka’s character and cult ever published, Ilse Wegner argued that in both visual arts and literary texts they are presented either as feminine or masculine, but never is their gender ambiguous (Gestalt und Kult der Ištar-Šawuška in Kleinasien, p. 47). Frans Wiggermann argues that KAR 307, which I already discussed and which describes a single figure with both masculine and feminine traits, might be related to depictions of Shaushka (Mischwesen A…, p. 237; thus I suppose the text would deal with an Ishtar, not with Inanna slash Ishtar herself) but this would quit obviously at best constitute a late exception which could be attributed to very vague familiarity with the deity. 

In addition to the options discussed by Leonard, a further interpretation present in scholarship is possibility is that Shaushka might have been seen primarily as a goddess, but performed a male role in specific context, to be precise when portrayed as a warlike deity (Ištar in Ḫatti…, p. 301) - in other words, that we are dealing with a similar phenomenon as in the case of Inanna. For instance, Wegner assumed Shaushka was essentially female, and the masculine portrayals merely reflect adoption of masculine-coded character traits and attributes as opposed to actual transformation into a male figure (p. 47-48). Gary Beckman similarly suggests that Shaushka was a goddess, and that the male form, which he likewise considers to be a military aspect, was interpreted as crossdressing, as opposed to an actual shift in gender (Shawushka, p. 1). Leonard accepts the possibility that the male form might reflect the fact that warfare was seen as an exclusively masculine pursuit in Anatolia, though since there are multiple sources where goddesses whose gender never shifted in any way appear on the battlefield he stresses it’s not impossible such gender norms did not necessarily apply to deities (Ištar in Ḫatti, p. 299-300).

Out of all the possible interpretations I personally find the possibility that Shaushka was imagined to shift between a male and a female deity to be the most convincing - in other words, that they were viewed as genderfluid, similarly to Ninsianna, though almost definitely for different, presently impossible to determine, reasons. However, since the matter is far from settled, I opted to generally use neutral forms across this section of the article - I hope this doesn’t make it too confusing. Can any of the information pertaining to Shaushka be applied to Inanna as well? I don’t really think so. For starters, no source goes out of its way to depict a feminine and a masculine form of Inanna in the same location, so I would argue that it is significant this is something attested for her counterpart - a sign that the latter’s masculine identity was more pronounced. Note that this is only my personal impression, though, and it might not fully hold to academic scrutiny, not to mention that the emergence of new sources might invalidate it.

Beyond Inanna: Shaushka’s other connections

While I focused on the connection between Shaushka and Inanna, it’s necessary to point out that the former was more than just a “foreign counterpart”. As a deity worshiped for well over a millennium, they amassed their own complex network of deities - often completely distinct from Inanna. For instance, it’s hard to find a parallel to Shaushka’s position as the sibling (and, in myths, main ally) of the head of the Hurrian pantheon, Teshub (not least because he represented a somewhat different model of a head god than Mesopotamian Enlil and Anu). However, to do this matter justice I’d basically need a separate article. Due to the scope of this treatment of Shaushka, I will limit myself only to a small number of figures they were associated with - either because they have something to do with their gender, or because they are additionally in one way or another connected to Inanna.

In Hittite context, Shaushka came to be closely associated with an Anatolian deity, Anzili (Ištar in Ḫatti…, p. 112). Since the latter’s character is poorly known (Ištar in Ḫatti…, p. 113), the reasoning behind the equivalence between them is opaque (Ištar in Ḫatti…, p. 119). Timothy D. Leonard tentatively proposes that Anzili’s name might be grammatically masculine and that it originally designated a god who later came to be seen as a goddess (as reflected in available sources), or that similarly as in the case of Shaushka both a male and a female form could be attributed to them (Ištar in Ḫatti…, p. 117). 

Untangling this problem is complicated further by the fact that Anzili’s name is used simply as a Hittite translation of Shaushka in both ritual and literary texts in which the deity of Nineveh is undeniably meant, down to being explicitly referred to with titles pertaining to this city - where Anzili obviously wasn’t actually worshiped (Ištar in Ḫatti…, p.120-121). Through the association with Shaushka, Anzili’s name even got to be used to translate the name of their Mesopotamian counterpart a few times - the Hittite translation of King of Battle, the most famous epic about Sargon of Akkad, refers to his divine backer as… “Anzili of Akkad” (Ištar in Ḫatti…, p. 125). Ultimately the translation was not entirely consistent, though, and texts written in Hittite where Shaushka’s name is nonetheless rendered phonetically, leaving no possibility that it was translated as Anzili, are also known (Ištar in Ḫatti…, p. 126).

Next to Inanna and Anzili, the deities probably the most commonly associated with Shaushka were their handmaidens Ninatta and Kulitta (Ištar of Nineveh…, p. 6). They could be portrayed as divine musicians (Gestalt und Kult…, p. 78), but also as warlike deities (John MacGinnis, The Gods of Arbail, p. 109). Ilse Wegner went as far as suggesting the phrase “right weapon of Shaushka” was an apposition of the pair, though that’s obviously speculative (Gestalt und Kult…, p. 79). 

Further information about their role is provided in a hymn to Shaushka (CTH 717). They are grouped in it with two other handmaidens, Šintal-irti (“seven-tongues”) and Ḫamra-zunna. The four of them are supposed to look after households which Shaushka views favorably, so that their inhabitants can live in harmony. Meanwhile, four other handmaidens, Ali, Ḫalzari, Taruwi and Šinanda-dukarni, are entrusted with making people in households which Shaushka resents quarrel with each other (Ištar in Ḫatti…, p. 120-122). It has been argued that this reflects the two aspects of Shaushka’s character - as a love deity in the case of the first four handmaidens, and as a warlike one in the case of the second group (Ištar in Ḫatti…, p. 123) - but I am skeptical if this can be easily reconciled with the fact Ninatta and Kulitta appear with them no matter which side of them is in the spotlight. 

Ninatta and Kulitta also represent probably the strongest case of Shaushka leaving a mark on their Mesopotamian counterpart. In the Neo-Assyrian period, they appear as members of the entourage of the latter not only in Nineveh, but also in Arbela and Assur under “Akkadianized” forms of their names, Ninittu and Kulittu (The Gods of Arbail, p. 109)

While Inanna had an extensive court - something that for mysterious reasons is not acknowledged online or even in publications aimed at general audiences (to use a recent example - even an a-list example like Nanaya comes up less times in Louise Pryke’s Ishtar than Buffy the Vampire Slayer, who, as far as I am aware, is not attested in any cuneiform texts) - I’m not aware of any instance of Ninatta and Kulitta being explicitly identified as counterparts of any of its members, though. Perhaps the fact that some of the cities in which they are attested were originally Hurrian has something to do with it - they weren’t introduced there as new additions, it was the Mesopotamian goddess who was superimposed over their original superior (The Gods of Arbail, p. 112).

Madonna-whore complex and beyond: (the modern reception of) Inanna as a love deity

After the brief detour focused on Shaushka, it is time to go back to Inanna - specifically to the most major aspect of her character I largely left out before, her association with love and all that entails.

As I already said, the oldest available texts affirming this was one of her prerogatives are younger than these linking her with war, let alone these hinting at her astral role. Regardless of when this aspect of her character first developed, it took until the Ur III period for it to take the center stage (Inanna and Ishtar…, p. 338). Simultaneously, it is by far the most well known today, to the point you often get the impression people barely know there’s more to her. Tonia M. Sharlach notes that even in scholarship there is discussion over whether this aspect of her character isn’t perhaps overestimated to a degree (An Ox of One’s Own. Royal Wives and Religion at the Court of the Third Dynasty of Ur, p. 268). 

At least when it comes to the spread of this misconception online, one is tempted to ask to which degree pretending this is the only thing about Inanna that matters amounts to the need to present her as some sort of demo version of Aphrodite, with limited, if any, concern for Mesopotamia.

None of these phenomena is why I kept it for last, though - even if I do agree that viewing Inanna simply as a “love goddess” is misguided at best. My decision simply reflects the fact that the relevant sources portray Inanna probably at her least gender nonconforming . As argued by Bendt Alster, in some cases in love poetry it would essentially be possible to substitute her and Dumuzi for an average young human couple without the need to make any adjustments (Sumerian Love Songs, p. 78).  Ultimately, these works reflect fairly normative ideas of courtship, romance and sex, though with a clear female focus (Frans Wiggermann, Sexuality A. In Mesopotamia, p. 412). The portrayal of love and eroticism in them has been described as “playful”, in contrast with the more blunt genres like potency incantations, or even with portrayal of sex in myths like Enki and Ninhursag (Jerrold S. Cooper, Gendered Sexuality in Sumerian Love Poetry, p. 92-94). Many of them are honestly an enjoyable read, as long as you are willing to engage with heavy use of assorted metaphors in descriptions of sex (date syrup, lettuce and agricultural activities are particularly abundant). Here is a fairly representative example:

The Song of the Lettuce (ETCSL)

There isn’t really much to say beyond that - they’re a fascinating topic in their own right, but they are largely irrelevant for the matter this article investigates.

Frans Wiggermann, an author whose work I generally value highly, made the peculiar argument that erotic poetry in which Inanna is the more active side and her goal is sexual gratification might reflect attribution of masculine traits to her and proceeded to argue every depiction of sex where the woman tops is ought to be related to this phenomenon (Sexuality A…, p. 417-418). He simultaneously raises an interesting point that these representations of Inanna might have been supposed to justify sex without the aim of reproduction. It is unclear to me how it would “allow minorities a place under the sun”, though (p. 418), as the sex scenes in relevant compositions are invariably straight.

While I am unsure about some aspects of Wiggermann’s argument, I should stress that I think it was made in good faith. Sadly this can’t be said about much of the other scholarship pertaining to Inanna and sexuality, and especially the intersection of the topic of sexuality and gender.  This matter has been investigated in depth by Zainab Bahrani in the early 2000s already. She argues that publications which overestimate the ambiguity of Inanna’s gender (which typically employ hardly applicable labels like “hermaphrodite”; she singles out Rivkah Harris’ Inanna-Ishtar as Paradox and a Coincidence of Opposites and Brigitte Groenberg’s Die sumerisch-akkadische Inanna/Ištar: Hermaphroditos? as relatively recent examples), in particular while emphasizing her erotic character, are essentially a leftover a fear of nefarious seductresses common in popular culture of fin-de-siècle Europe, for example in symbolist paintings (Women of Babylon…, p. 146).

Jen Delville's The Idol of Perversity, a fairly standard example of the sort of symbolist painting Bahrani meant, a representation of the fear of "unquenched bestial desires of a woman" (wikimedia commons)

I think it’s also a valid point that traits like assertiveness or a quick temper could very well be assigned to a femme fatale, and are not necessarily an indication of any ambiguity of gender (Women of Babylon…, p. 144), though I don’t think every aspect of Inanna’s characters needs to be subsumed under the erotic, and recent publications focused on her military role and its intersection with gender are much more nuanced, as you could see for yourself earlier.

Bahrani also highlights that publications she criticizes - both historical and modern - treat transsexuality, crossdressing and various adjacent phenomena and (male) homosexuality as basically one and the same (Women of Babylon…, p. 145; I will come back to this). However, I feel she falls into this trap herself to a small degree when it comes to women, as she appears to link the dubious Inanna scholarship  overestimating the ambiguity of her gender and the phenomenon of various femme fatale figures being portrayed as bisexual for voyeuristic purposes, and to Orientalist art at the very least implying lesbian activities (Women of Babylon…, p. 146). I am not aware of any actual publication dealing with Inanna or relevant phenomena (of any quality) which would go into this direction, though.

I also disagree with treating Inanna as unique compared to other goddesses just because she is not primarily portrayed as a wife or mother (Women of Babylon…, p. 149) - the median Mesopotamian goddess was a personification of a profession or the interests of a city or both, arguably; major members of the pantheon like Nanshe, Nisaba, Ninmug, Nungal or numerous medicine goddesses were hardly defined by either of these two roles, even if they could be, indeed, portrayed as wives or mothers in a capacity Inanna was not.

Most importantly, I disagree with invoking Freud and his disciples (positively, for clarity) to bolster arguments (Women of Babylon…, p. 153-154).

Still, I do think the core concerns raised by Bahrani are more than sound. The next section will sadly make that painfully clear.

Sexualization of lamenting

The validity of some of Bahrani’s criticism is pretty evident just based on the survey of past literature on the matter of the assinnu (The Misconstructed Role…, p. 83-84), a type of religious specialist or performer who you already met earlier in the subsection of this article dedicated to military curses. It would appear that the authors most keen on far reaching speculations about their gender identity and sexuality are probably some of the least qualified to deal with this matter, and lo and lo and behold, typically blur together being gay, nonbinary and any form of gender nonconformity. 

Furthermore, even though texts from Mari explicitly link the assinnu with Annunitu (The Misconstructed Role…, p. 94) - the single most straightforwardly warlike Inanna-ish deity of them all, whose very name, “the skirmisher”, refers to combat - a peculiar obsession with rendering their role into something innately sexual (or rather lascivious) just because of their association with Inanna, appears to be a distinct trend. It  intersects with the former issue; after all, it is known that anything but being a cis straight person who is a paragon of gender conformity is innately inappropriately (or even “abnormally”, as one of the past evaluations cited by Zsolnay critically put it) sexual.

For what it’s worth, there is some evidence that the assinnu were men who - at least in certain situations - crossdressed and played lyres (The Misconstructed Role…, p. 86). In an Old Babylonian hymn I’ve already mentioned, this is said to take place during a festival which also involved female performers who for this occasion dressed up in a masculine way and carried weapons, who are not described with any specific technical term (The Man is Like…, p. 6). Given the context of this mention, I feel the jury's out on whether this was universal, or merely a specific local festival, especially in the light of other evidence for the activities of the assinnu, though. The participation in a celebration which involved crossdressing could explain why late lexical lists - first examples only come from the Neo-Assyrian period, some 1000 years after the Mariote and Old Babylonian attestations - sometimes offer UR.SAL as the logographic writing of assinnu. This combination of signs can be interpreted in different ways - some probably can be ruled out since they refer to female animals (canines and big cats), not to people; this led to the common interpretation as “feminine man” or “woman-man” based on other sign values. Zsolnay disagrees with it, and tentatively proposes something like “servant of women” (The Misconstructed Role…, p. 85)., though this might be an overabundance of skepticism.

However, Zsolnay’s position might not be entirely unwarranted. She correctly points out lexical lists are not necessarily reliable when it comes to synonyms of technical terms, such as religious titles (The Misconstructed Role…, p. 86). Furthermore, the assinnu seemingly were famous for performing a song titled “Battle is my game, warfare is my game” (mēlilī qablu mēlilī tāḫāzu; presumably purposely a nod to terms often  used to describe Inanna’s warlike characteristics). They also danced the “whirl dance” (gūštu) - which likely also had belligerent connotations, and which quite importantly is the main topic of the poem Agušaya, which entirely focuses on Inanna as a warlike deity (The Misconstructed Role…, p. 93).  Yet more important is the fact that UR.SAL is not the only combination of logograms which could be used to render the term assinnu. The other option, SAG.UR.SAĜ, literally means “foremost hero” - in other words, it does appears to point at some sort of “warlike” or, to be more precise, “heroic” role  (The Misconstructed Role…, p. 85). Zsolnay accordingly concludes that the ordinary role of the assinnu was most likely that of an exaggerated “heroic strongman” performing war dances, and that with time an association between these specialists and festivals associated with the military aspect of Inanna (and similar deities like Annunitum) developed due to obvious similarities (The Misconstructed Role…, p. 98).

Nonetheless, just due to the association with Inanna combined with possibly vaguely gender nonconforming behavior (I will not attempt to evaluate whether it was a staple of their activities or only one of the celebrations they took part with), they came to be described in questionable scholarship as “temple prostitutes” (not an actually attested insitution, though it is evident we are dealing with a multi level conflation of crossdressing, being gay or trans, and sex work based on quotes from previous studies provided) whose very existence simultaneously must have terrified the general populace (The Misconstructed Role…, p. 85). 

I feel obliged to point out in a footnote Zsolnay states that after finishing her article she was informed by a reviewer similar conclusions about assinnu have been independently reached by Julia Assante in Bad Girls and Kinky Boys? The Modern Prostituting of Ishtar, Her Clergy and Her Cults. Sadly, while I am quite sympathetic to the latter author’s valiant struggle against the myth of “sacred prostitution” and related problems, her methodology is much more flawed than Zsolnay’s, and at times it feels like she herself falls into some of the pitfalls she correctly points out in other studies. I also feel obliged to warn you that for reasons uncertain to me, Assante at some point in the 2010s abandoned academic work and became a medium. Therefore, I would engage with her publications cautiously, to put it very lightly.

There’s at least one point Assante raises which warrants further consideration, though (even if she phrases it very differently than I would). She notes it is peculiar that any individuals whose gender might have been perceived as non-normative or ambiguous, or whose gender is unclear, are automatically presumed to be AMAB, and the possibility that women might have been gender non-conforming, or that people whose gender identity might have differed from Mesopotamian norms were AFAB, is not considered seriously. As an example, she points out that a passage according to which an enigmatic cultic official, the pilipili, received a weapon “as if she were male” sparked little, if any discussion (Bad Girls…, p. 36). This is definitely agreeable, and if nothing else a good start for further inquiries, considering no detailed studies of the pilipili alone have been conducted, as far as I am aware.

It might be worth noting that in the satirical Old Babylonian literary text The Old Man and the Young Girl the second of the eponymous character tricks her way into temporarily reversing gender norms through a royal court verdict, which prompts her to encourage other women to “behave like the pilipili” to celebrate her victory (Jana Matuszak, A Complete Reconstruction, New Edition and Interpretation of the Sumerian Morality Tale ‘The Old Man and the Young Girl’, p.192-193). While more evidence would be necessary to make a genuinely strong case, the possibility that the pilipili were women perceived as gender non-conforming does seem compelling to me on this basis - so, I suppose, credit to Assante in that regard, even if her treatment of the matter leaves a bit to be desired. It’s worth noting a similar proposal about the identity of the pilipili has recently been advanced by Sophus Helle based on the same passage Assante cited (Enheduana. The Complete Poems of the World's First Author, p. 158).

On a further related note, as a pure curiosity it’s worth mentioning that a single lexical list, Malku, lists the feminine form of assinnu - assinnatum - who never sparked the sort of discussion her counterpart did. It should be noted that this label is explained in this context as a synonym of ugbabtum, a fairly widespread type of priestesses (attestations are spread virtually everywhere from Terqa to Susa) involved in the cults of various deities (The Misconstructed Role…, p. 86). As far as I am aware, this is an isolated example, so for the time being it’s impossible to determine if assinnatum ever designated a distinct class of performers or cultic personnel or if it was a scribal invention. I’ll refrain from any speculation about whether it might have anything to do with the women who appear alongside assinnu in the Old Babylonian hymn discussed earlier.

To go back to the assinnu themselves one last time, a further thing to note is that sometimes far reaching dubious conclusions are drawn based not even on information pertaining to these performers themselves, but rather the gala and an enigmatic class of cultic officials presumably involved in mourning, the kurgarrû. However, while the latter two occur together quite often in literary texts (recall that the two clay beings in Inanna’s Descent bear the names Kurgarra - an obvious variant of kurgarrû - and Galatura, ie. “little gala”; however, note as well that gala also commonly occur alongside ašipu), there is very little evidence for any actual close association between them and assinnu - they only occur side by side in a single literary text, the lament Uru-Amirabi (The Misconstructed Role…, p. 91).

The gala (Akkadian kalû; not to be confused with galla, either literally a “gendarme” or town guard, or a type of demon fulfilling an analogous role in the underworld) themselves warrant some further discussion, as they are probably the most egregious example of the phenomenon discussed in this section of the article.

The primary role of the gala was performing various types of hymns, prayers and laments in emesal, a dialect of Sumerian (Paul Delnero, How To Do Things With Tears. Ritual Lamenting in Ancient Mesopotamia, p. 41). Through the third and second millennia BCE, gala most commonly occur alongside temple singers (nāru), for reasons which should be self explanatory, while in the first millennium BCE - alongside āšipu, a type of exorcist, which reflected the involvement of both groups in scholarship (Uri Gabbay, The kalû Priest and kalûtu Literature in Assyria, p. 116).

The gender identity of the gala is a subject of much debate. It might have been unique to them (in other words, they were nonbinary, with gala being both a professional designation and gender identity) or alternatively they might have been men who engaged in broadly speaking gender nonconforming behavior (How To Do…, p. 109). I am not going to attempt to convince you one option or the other is more plausible, I personally don’t think the matter will ever be possible to fully settle unless texts written by gala themselves going in depth into how they perceived themselves ever emerge. Obviously, we also have to take into account what exactly being a gala entailed varied between time periods and locations.

The only thing that can be said for sure is that the gala were not regarded as women. This seems to be an entirely online misconception, though one with an enormous reach - a post making similar claims garnered some 40k notes on this site recently. Said post also stated that they underwent “gender affirming surgery”; it needs to be noted that the status of the gala - or any other type of clergy - was in fact not attributed to any medical procedure (and I don’t think Magnus Hirschfeld, who pioneered gender affirming surgery and deserves more credit than he gets for it, lived in Early Dynastic Mesopotamia…). Obviously, this is not a denial of the possibility the gala weren’t cis (to put in in modern terms) - but it seems beyond credulous to both claim their identity depended on a medical procedure alone, and to project a fairly recent accomplishment for which a genuinely heroic maverick should be credited into incredibly distant past. I don’t think we need a trans version of “ancient matriarchy” mirages, personally.

However, ultimately the main misconception about gala is that they were “priests of Inanna” - and various mortifying hot takes emerge specifically from that. Especially online, more or less haphazard attempts are made to prove that, despite the plentiful evidence for what being a gala entailed, their role - and the roles of any even just tangentially related religious personnel - was innately sexual, since it was tied to Inanna (we have such choice tidbits as “males who engage in transgendered or prostitute behavior”, courtesy of Patrick Taylor, The Gala and the Gallos, p. 176; unclear to me how these labels are in any shape or form interchangeable). 

To put it bluntly: it seems like to some the fact the gala might have been, broadly speaking, lgbt (or just gender non-conforming) is in itself something sexual, much like the possibly gender nonconforming performance of the assinnu. 

What differentiates this view of the gala from similar faulty opinions about the assinnu is that I think at least online the intent often isn’t malicious - it is not wrong to hope someone in the past was similar (as I understand, the underlying assumption behind many misguided post is that the gala were trans women). However, sadly the underlying motivation of the authors whose takes end up laundered to teenagers online this way is ultimately an example of the same phenomenon which, in a more extreme form, leads to various suspicious groups calling for removal of the tamest possible literature for teenagers from libraries because a gay or trans character appears.

A further problem is that while the assinnu indeed occur chiefly in association with Inanna, the gala were not innately associated with her (and especially not with her sexual side) - referring to them as “priests of Inanna” is a misconception at best, and outright malevolent at worst (in bad faith cases, the logic follows what Bahrani described pretty closely). They were actually present in the cults of numerous deities, most of whom were paragons of gender conformity and had no sexual aspect to speak of - in other words, whatever the identity of the gala was, it was disconnected from the identity of the deity they performed for. Every single major temple dedicated to a city deity had a “chief gala” among its staff. Such an official oversaw the activities of other gala employed by it, but also took part in day to day economic activities of the temple, like managing prebends (How To Do…, p. 110). To go through all of the available evidence would take too much space, so I will only list a handful of particularly notable examples.

There was a “chief gala” among the staff of Ninurta’s main temple Eshumesha in Nippur, as attested in a list of provisions where this official appears next to a “chief singer” (Wolfgang Heimpel, Balang Gods, p. 583). In Old Babylonian Kish another “chief gala” was the second most important religious official in service of Zababa, with only the temple administrator ranking higher (Walther Sallaberger, Zababa, p. 165). A further “chief gala” resided in the temple of Sin in Harran, as attested in sources from the Neo-Assyrian period; the holders of this office were tasked with sending astronomical reports to the kings of Assyria (Steven W. Holloway, Aššur is king! Aššur is king! Religion in the exercise of power in the Neo-Assyrian Empire, p. 409). A “chief gala”, as well as a number of regular gala, were also part of the staff of the temple of Nanshe in NINA (reading uncertain; Tell Zurghul) in the Early Dynastic state of Lagash (Gebhard J. Selz, Untersuchungen zur Götterwelt des altsumerischen Stadtstaates von Lagaš, p. 205-206).

It’s important to note that the arts of the gala and the knowledge transferred among members of this profession - kalûtu - were associated with Ea, not with Inanna; the closest parallel are, once again, the arts of the āšipu (The kalû Priest…, p. 116). However, it would be disingenuous to call them “clergy of Ea” - I’m just highlighting they had no specific connection with Inanna. Stressing the lack of any unique degree of connection between her and the gala is not supposed to be an argument against inquiries into their gender identity, either - though I do advise to be cautious which authors are consulted. 

Maternal obsessions: do deities even follow gender roles?

While I dedicated a lot of space to warnings about questionable motivation behind some arguments pertaining to the gender of Inanna and especially clergy with varying degrees of association with her, it needs to be stressed that there’s a need to be cautious about the exact opposite attitudes too sometimes. While skepticism is generally a virtue in scholarship, it is hard to deny that some of the opposition to inquiries into Inanna’s gender and related matters also has highly questionable motivations behind it. 

For instance, my reservations towards Julia Assante’s article discussed earlier come from the fact that at least some of her criticism is rooted not in valid reasoning, but in what appears to be a degree of homophobia -  for instance, part of her opposition to interpreting cultic officials like the assinnu or gala as gay men (for which the evidence is indeed hardly sufficient - we have evidence for crossdressing in one case, and for either gender nonconformity or a unique gender identity in the other) stems from her conviction that this is an example of “abnormal male sexuality” (Bad Girls…, p. 37). 

Interestingly this is a selective case of homophobia, though, since she simultaneously voices a perfectly valid complaint that earlier scholarship has “not allowed discussion on lesbianism other than to dismiss it” (p. 36; it needs to be noted that in contrast with gay men, direct evidence for lesbians is lacking altogether in cuneiform - see Sexuality A…,  p. 414 for reference to a MLM love incantation and absence of a WLW equivalent - but you’d at least expect some serious inquiry into Ninshubur’s portrayal in literary texts by now). Some examples are even more blunt. For instance, Wolfhang Heimpel, after concluding that references to “bearded” Inanna reflect the perception of the planet Venus as opposed to the deity (which is not too dissimilar from the interpretation I highlighted as plausible earlier) reassures the reader that Inanna was therefore not an “androgynous monster” (A Catalog of Near Eastern Venus Deities, p. 15) - I am somewhat puzzled what exactly would be “monstrous” about facial hair. It’s hard to escape the conclusion that in contrast with the newer study of the same passages which I discussed in detail and have no objections to, it’s not the weakness of the evidence that bothers the author, but the slightest possibility of androgyny.

Not everyone is so direct, though. There are also more insidious cases - and these invariably focus on Inanna herself, as opposed to any religious officials. What I’m talking about are sources which refer to Inanna as a “mother” or “fertility” goddess or some nondescript “divine feminine” entity entirely detached from historical context. As a result Inanna is essentially forced into an incredibly rigid feminine role she never actually fulfilled. I won’t dwell upon the abstract maternal obsession itself much here. I already wrote a separate article a few years ago about its impact, exemplified by the recent portrayal of Inanna as a grotesque pregnancy monster in a certain videogame (this is not an exaggeration) and I think that was enough. It will suffice to say that these visions belong not in Mesopotamia at the dawn of recorded history, but rather in the most feverish depths of Victorian imagination (I won’t explore this topic here; Cynthia Eller’s publications are a good start if you are interested, though). Interestingly, simultaneously sources of this sort basically never investigate Mesopotamian texts which actually focus on motherhood - which is a shame, because compositions such as Ninisina A are filled with genuine warmth. However, they don’t deal with some sort of overwhelming Frazerian ur-mother reduced to bare biological essentials.

To go back to the main topic of this section, the  true crown jewel of the discussed subgenre of Inanna literature has to be this paragraph courtesy of Tzvi Abusch (Ishtar in Dictionary of Deities and Demons in the Bible, p. 453):

One is tempted to ask why Abusch argues Inanna is “incomplete” or exhibits “psychic wounds” due to her character not revolving around being a wife or mother. How about her roles as a war deity, love deity, personified astral body or representation of political interest of one city or another? Roles which are, quite obviously, fully realized? As a war deity, she was believed to assist kings, deprive their enemies of the ability to fight, and to confront various supernatural adversaries like rebellious mountains; as a love deity, she was invoked through love incantations and acted as the archetypal lover in erotic poetry; as Venus, she shone in the sky. 

Should we also question why, for example Tishpak’s roles as a husband and father are not fully realized considering he primarily plays the role of a warrior and divine sovereign of Eshnunna (the human ruler was merely acting as a governor on his behalf, a fairly unique situation otherwise only attested for two other gods)? Very few male gods actually match the image of masculinity presented in Instruction of Shuruppak as an ideal to strive for - just as very few goddesses fit the image of the ideal wife preserved in proverbs.

This is not the first time this comes up in this article, but while the world of gods, and the character of its individual inhabitants, obviously arose in specific historical context, it was not a perfect mirror of the world of humans and its mores  (Do Divine Structures …, p. 105-106). Ilona Zsolnay outright argues that even if some (but not all) of the Mesopotamian deities were at least in part characterized based on normative patterns of behavior tied to them - there are, after all, deities defined at least to a degree by, for example, fatherhood (like Enlil) or marital status (like Aya) - ultimately they were not bound by the same gender norms as humans. Furthermore, religious and political factors, as well as natural phenomena deities could be linked with, influenced their character considerably more (Do Divine Structures …, p. 116).

Granted, it should be noted that Abush is basically writing about an Inanna he made up. As you’ve seen earlier, the first attestations of Inanna already sound fairly similar to her most famous portrayals from later periods. However, he instead argues that the original Inanna lost to time was one of “primitive earth of mother goddesses” and that from the fourth millennium BCE onwards (coincidentally when the first actual attestations of Inanna emerge thanks to the advent of writing) Mesopotamians simply couldn’t grasp her true character (Ishtar, p. 454). The need to portray Inanna as she actually was imagined as some sort of aberration, coupled with a desire to uncover an “original” version which just so happens to conform to an incredibly rigid vision of femininity is quite something. Rarely do you see someone basically recreating the Madonna-whore complex so literally.

Absent parents, ever present children

While as I said I won’t engage in depth with the peculiar obsession with making Inanna into a maternal figure evident in Abusch’s treatment of her, I do feel obliged to cover a related phenomenon: the obsessive focus on the quite rare cases where some minor deities are identified as her children. This is a particularly big problem online, though vintage scholarship and publications aimed at general audiences (even very recent ones) are equally, if not more, guilty of it. 

The nominal assignment of largely irrelevant deities as children to Inanna was ultimately inconsequential, and in particular it had nothing to do with her erotic role - or with Dumuzi, for that matter, as he is never identified as their father (Inanna and Ishtar…, p. 339). Pregnancy, childbirth and maternity are not topics dealt with in compositions focused on the two of them (Gendered Sexuality…, p. 95). 

Only three deities have ever been described as Inanna’s children in primary sources: Shara, Lulal and Nanaya. In every single case caveats apply.

Shara’s connection to Inanna was geographically limited. It wasn’t a pan-Mesopotamian convention to regard them as related, but rather a local tradition restricted to Zabalam (Goddesses in Context…, p. 202). Julia M. Asher-Greve suggests that it might have originally been little more than a way to give Inanna access to the epithet ama, literally “mother” (but metaphorically, as a divine epithet, something like “venerable woman”; Jeremy Black, Songs of the Goddess Aruru, p. 48), which was however primarily used not to indicate motherhood but rather a position of authority in the pantheon (Goddesses in Context…, p. 140).

It’s also important to note that Inanna of Zabalam didn’t really start as (an) Inanna, since the earliest literary text she appears in, the Early Dynastic Zame Hymns from Abu Salabikh, refers to her with the enigmatic name Nin-UM. Joan Goodnick Westenholz assumed that Nin-UM was the original name of the goddess of Zabalam, with the name Inanna (and many of Inanna’s traits) effectively imposed upon her due to the theological and political influence of nearby Uruk (Goddesses in Context…, p. 42-43). Whether this was the case or not, the two are treated as functionally separate deities in god lists (Goddesses in Context…, p. 79-80). 

While this is far from certain, Douglas Frayne proposed that this phenomenon might also be the motif of conflict between Inanna and Gilgamesh, first attested in the standalone poem Gilgamesh and the Bull of Heaven from the Ur III period, and fully developed in the considerably later standard edition of the Epic of Gilgamesh (which might reflect what Paul-Alain Beaulieu described as “anti-Ištar sentiment”; The Pantheon..., p. 108). He assumes that it reflected hostilities between Uruk and Zabalam, with the antagonist actually being Inanna of Zabalam and not Inanna of Uruk (The Struggle for Hegemony in "Early Dynastic II" Sumer, p. 63-64). In any case, the connection with Shara cannot be taken out of context and applied where it is not explicitly mentioned.

The other most frequently cited case, that of Lulal, is even weaker than Shara’s. He is addressed as Inanna’s son exactly once, in a fragmentary hymn published in the 1960s (Anna Glen, Jeremiah Peterson, The Lulal širgida Composition CBS 12590 (HAV 5, pl. 7, VIII), p. 169) - so he has an equally firm claim to being her son as the personified Styx has to being Persephone’s mother. In Inanna’s Descent, the composition most often “enriched” today with forcible assertions of familial bonds between Inanna and miscellaneous side characters, the connection between them is merely “close, but unspecified” (Wilfred G. Lambert, Lulal/Lātarāk, p. 163). Anna Glen and Jeremiah Peterson assume he is an attendant, not a family member, and point out elsewhere (Inanna D, line 32) he is portrayed only as a minor warrior god acting on her behalf (The Lulal širgida…, p. 169). An annotated edition of the Weidner god list equates Lulal with Sin (Klaus Wagensonner, CCP 6.7.A - Weidner’s God List A) which, as it will become clear very soon, creates some issues for claims of widespread acceptance of his status as Inanna’s son.

The third deity sporadically addressed as Inanna’s child was Nanaya. In contrast with both Shara and Lulal, she was actually a major figure in her own right, and her connection with Inanna is attested in various cities and time periods. Ironically enough I don’t think I’ve ever seen her described as her daughter online, though. I suspect the explanation is fairly straightforward: she doesn’t appear in the “canon” of shoddy vintage translations of a small handful of texts on which the online image of Inanna often seems to be built.

However, the fact Nanaya had a firm connection to Inanna doesn’t mean undue importance should be assigned to the cases where they are presented specifically as mother and daughter. Only three sources actually refer to them this way: an inscription of king Lipit-Ishtar, a first millennium recension of an older balag song, and a unique oath formula. Olga Drewnowska-Rymarz assumes the relation described in them might very well be metaphorical (Mesopotamian Goddess Nanāja, p. 30).It would not be hard to find parallels proving this is a distinct possibility: Ninshubur was demonstrably not Inanna’s mother, and yet she addresses her as such as a sign of respect in at least one composition. Ninshubur herself has no known parentage, and yet refers to every high ranking god as “father” in Inanna’s Descent. The examples of using terms of kinship as an indication of respect or closeness are numerous.

Furthermore, multiple genealogies could be assigned to Nanaya. In laments, she is consistently the daughter of Urash, the tutelary god of Dilbat, for instance (Mesopotamian Goddess Nanāja, p. 31). Obviously, the fact that Nanaya could also be at least partially identified with Inanna (though this is a late phenomenon; Goddesses in Context…, p. 131) poses some problems for viewing them as child and parent. In most cases it’s probably best to agree with the description of the relationship between the two as “definite, but unspecified” (Joan Goodnick Westenholz, Nanaya: Lady of Mystery, p. 68). 

On a side note which is not directly related to the main topic of this article, it is quite peculiar that preoccupation with Inanna existing as a part of a family never seems to extend to highlighting her connection with her parents. Ironically, the family connections people downplay online are the ones which actually mattered the most theologically.

The tradition making Nanna (Sin) and Ningal Inanna’s parents was by far the most widespread one, and it is reflected in various genres of texts across history (Aino Hätinen, The Moon God Sin in Neo-Assyrian and Neo-Babylonian Times, p. 309-310; Goddesses in Context…, p. 230; The Pantheon…, p. 111; even Abusch’s Ishtar, p. 452). References to this connection are frequent in literary texts, even ones which don’t focus on Inanna, let alone on her family ties. For instance, Ka Hulu-a, which isn’t even a composition dealing with deities on the most part, casually refers to Inanna as “wise daughter of Sin” (dumu galzu Suenna; Jana Matuszak, Don’t Insult Inana! Divine Retribution for Offense against Common Decency in the Light of New Textual Sources, p. 361). 

The connection between Inanna and her parents was so strong it could be transferred to other deities by proxy. Both Shaushka (Marie-Claude Trémouille, Šauška, Šawuška A. Philologisch, p. 102) and Pinikir (The Goddess Pirinkir…, p. 27) - not to mention an entire host of major and minor Mesopotamian goddesses, ranging from Annunitum (The Moon God…, p. 313), though Belet-ekallim (Ištar in Ḫatti…, p. 160) to Nanaya (The Moon God…, p. 312) - could be addressed as the moon god’s offspring (or, at the very least, as the offspring of a moon god since at least in Shaushka’s case the name is in all due likeness used as a logogram).

Perhaps even more importantly, the connection between Inanna and her father was also responsible for her well attested association with the number 15, best reflected in the use of this numeral to represent her name from the Old Babylonian period onwards. Since Sin’s number was 30 (a reflection of the number of days in the lunar month), a half of that was deemed a suitable number to represent his daughter by ancient theologians (Wolfgang Röllig, Götterzahlen, p. 499).

Conclusions

I was initially reluctant to cover the topic of the gender of Inanna and related deities in depth, I’m frankly not sure why. It is not my intent to boast, but much of my online activity has consistently revolved around assyriology since 2020 (technically it has been my interest for much longer, but my methodology required refining). I wrote 200+ wiki articles about Mesopotamian deities, including multiple which specifically required dealing with the matter of gender; in contrast with the overwhelming majority of hobbyists I keep up with academic publications.

To go back to the question which originally inspired this article, I don’t think it’s possible to give a straightforward answer. I’d say at least some of the current mainstream Assyriological scholarship (by which I mean roughly from the mid to late 1980s to now) offers a fairly accurate evaluation of what can be said about Inanna’s gender, and about the gender of related figures - Ninsianna, Shaushka, Pinikir etc.; I hope spotlighting sources which can be described this way through the article makes this clear enough. Some specific details are definitely overemphasized (the eerie quest for a beard is the prime example but I’d be lying if I said Wiggermann’s puzzling views on femdom didn’t make me laugh). What is definitely overestimated is to what degree the supposed ambiguity of Inanna’s gender was tied to her sexual aspects. The general lack of any such characteristics among deities even more firmly associated with sexuality than Inanna was - I highlighted it in the case of Nanaya, but it holds equally (if not more) true for Ishara, Gazbaba, Kanisurra, Bizilla, the list goes on - also doesn’t seem to ever be highlighted. While obviously each of them was a deity with own unique character and not just a carbon copy of Inanna (for example, Ishara was associated with weddings in a capacity no other love goddess was, while Nanaya persistently appears in texts dealing with unrequited love or rejection), convergence of traits was a fairly common phenomenon in Mesopotamian religion. For example, numerous couples consisting of a medicine goddess and a war god emerged over the course of the late third and second millennia BCE - so surely it would eventually reemerge in one of these cases?

A further problem is of course the questionable scholarship based on these misconceptions which focuses less on Inanna herself and more on clergy associated with her, or even just vaguely adjacent to her. While a lot has changed since the early 2000s, let alone the 1980s, it is still arguably a major weakness of assyriology as a discipline that often gender, sexual orientation and presentation are often treated as entirely overlapping phenomena. There are numerous authors who write about relevant matters thoughtfully, but this is hardly the rule; especially when assyriology intersects with Bible studies or classics, the problem remains strong (meanwhile, in depth studies of, say, transmission of laments will often be quite cautious; it’s also not as easy as just blaming the age of some researchers and calling it a day).

However, there are also matters related to the gender of Inanna and related deities which definitely receive too little attention. To which degree what we know about Ninsianna can be applied to Inanna? Why the planet Mercury, despite also being regarded as switching between two genders, seemingly never came to be personified the same way as Venus? Why Shaushka and especially Pinikir appear in firmly masculine attire, while Inanna basically never does? All of these questions require further in depth inquiries. Much as I can’t give an unambiguous response to the initial question, I honestly don’t think it’s possible to give a straightforward answer on the matter of Inanna’s gender in the first place. Obviously, it’s impossible to disagree that fundamentally she was primarily a feminine figure. However, it’s also important to remember she essentially took a masculine role in the military context. I still stand by my joke chart from a few months ago:

While as I demonstrated things get much more murky when it comes to outright ambiguity or fluidity of gender, I would not rule it out entirely either, at least in an astral context - though I also doubt it’s fair to speak of anything directly comparable to the cases of Ninsianna, Pinikir or Shaushka. 

Perhaps in the end we have to simply accept how Inanna’s character is summarized in an Old Babylonian composition I brought up much earlier:

[deancrowleycas]

Favorite Shots Per Episode ✩ 1.06 Skin (3/3)

cinematography analysis and queer reading under the cut

It's of course very obvious that the shapeshifter is functioning as a mirror to Dean, but I still find it fascinating how this is depicted in the cinematography. Because the director isn't using physical mirrors, despite them being such a popular trope in horror for showing the true self or the mental state or metamorphosis of a character. The only time where you sort of see one is in a foreshadowing shortly after the establishing shot with the side-view mirror (which I absolutely love):

But for the rest? Not really. I always wonder if interpret waaaay too much into certain frames, but I am kind of obsessed with how Dean and Becky are divided by the crime scene tape in this shot. Becky is the victim. Dean, well Dean? He's the monster. Kind of. I think a lot of the reflection in this episode happens through what Dean is not also, and he's are not living the lives of 'normal' people. I love how the directing of the episode shows early on that Dean does not belong to that part of society, just like the shapeshifter.

I mean I obviously am doing a queer reading of that (being queer myself), with the monstrous and othered bodies in media being those that are not conforming to various aspects of white cishet society. But I am going to say - the implication that there is a sort of inherent tragedy to Dean's life, not just a sense of not belonging because of his 'lifestyle' but also the fear of being monstrous enough to destroy other people's bodies and livelihoods? Ugh. It hurts, and it's sadly coming back in anti-queer narratives to this day. But yeah, as I said, Dean is portrayed in a way that is disconnecting him from the rest - also from Sam who is the link to this 'normal' life by knowing Becky and who has kept Dean from 'being himself' by pursuing his own dreams and conforming to the exact society that Dean is not belonging to, letting Dean behind in a position where he's neither free to be himself nor enough to be someone else -, and that is giving him a sameness to the shapeshifter.

Dean has to hide the queer part of himself, in a desperate attempt to be accepted, mirrored by the monster of the week: "So maybe this thing was born human but was different, hideous and hated...until he learned to become someone else."

I think that's why I am also obsessed with these shots. Because both the shapeshifter and the shapeshifter as Dean are getting one, revealing their true self underneath the mask that is this body, a body that is subjected to other people's ideas and is projected on and isn't their own. But also the eyes are mirrors? The body part described as the 'mirror to the soul'. It's a little cliché and on the nose, but I find it way cooler than just working with physical mirrors, you know?

And yeah, when it comes to reflections, of course, we cannot forget this scene:

Which is Dean seeing himself, but more so is actually Dean seeing how he is perceived by others. It's not a depiction of his actual self, it's a depiction of the concept of him. We know this, we know Dean is not the 'bad guy' that is televised nor is it an accurate portrayal of him. But I think that it serves to show the audience how media is a place that can shape ideas and construct norms, and it also serves as a way to remind Dean that this is how he will be reacted to if he dares to 'become' monstrous. If he dared to be like the shapeshifter, the outcast, and put his own being over his responsibility to conform. Despite his brother Sam being allowed the same egoism - but Sam's egoism is striving to conform, he's lawboy@stanford.edu you know, and Dean's egoism is striving to be free, to regain control over his body.

And then we have this shot.

Followed by this shot.

Dean 'killing' this reflection of himself, this part of himself in favor of serving and saving. He's a freak, but he's not just a freak like Sam in that he's currently living the hunter lifestyle and didn't really fit into Stanford. Because - well, he's different than Sam. Queer. He's isolated, alone, born hated like the shapeshifter if he ever lived his true self, yearning to be loved. The shapeshifter literally says it: "All he wants is for someone to love him. He’s like me. You know, everybody needs a little human touch now and then. It’s so hard to be different." I think this episode hits so hard for me because you can see Dean's self-hatred, especially in that last shot, Dean's internal struggles that he hides so well under his hero-esque facade. But also how he is ultimately a loving and caring person, putting everyone's happiness above himself.

I think despite this episode reading like being queer is an inherent tragedy at first glance, it walks a fine line in actually trying to convey quite the opposite. Dean is other, but the other isn't bad. Yes, he does good by suppressing himself, so does that mean he has to act according to others to be happy? I don't think that is what the episode is saying. I think it is more an example of Dean's 'monstrosity' being not the same as the shapeshifter's monstrosity in the end, that despite all the sameness they aren't one. That despite what society depicts him to be, evil and harmful to others, he isn't this mirror image projected onto him. He isn't what was shown on those televisions, or in a wider sense, the media. He isn't what is hunted down by the SWAT team, or in a wider sense, institutions in power. Dean's self IS good. Dean's self IS caring and loving, despite his fear to pursue his own dreams and be free, and it's not coming through his actions of suppressing those desires, but because he ultimately is neither those 'normal' people nor the shapeshifter, but his own truth. So yeah, while I think this episode definitely walks a dangerous path by having Dean continue to live this old life in the end, the cinematography in this episode also functions to reveal how - while horror is a love letter to the monstrous, represents counter-narratives and helps to deconstruct normativity (like in this episode!) - the monstrous is often instrumentalized to suppress and oppress and depict victims as an inherent danger to the established systems of oppression. Dean's true self isn't bad. People are just made to believe that it is.

[cozycottagetarot]

What's In Store For The Rest of 2024?

Reading Notes 🍂

This reading is for entertainment purposes only! Take only what resonates be it some, all or none. ✨

LINKS: Reading Masterlist | Dividers | Ko-Fi | Patreon | Paid Readings | Paid Readings - $10 and Under - Open 🥂

Pile 1 - Apples

Main Themes

Cards: Solar Flares • Activate, King of Pentacles, Knight of Cups, Knight of Wands

You’re gearing up to make moves for the rest of 2024! It feels like a big change will take place or you’re aligning yourself for one. This year has been very eye-opening for you, so the rest of 2024 is about implementing the lessons you’ve learned. You’re going to be achieving security in your emotions, creativity and/or passion. There will be lots of opportunities to welcome in things that help you create a life you’re in love with and passionate about. You’ll not only have the motivation to say yes to exploring them but also adapt (for better or worse) to navigate any obstacles.

Wondering what else 2024 has up its sleeve? 🤭 Join me on Patreon (Extended Access & Up) for a look at the opportunities, challenges, and the final twist still waiting for you this year! Hope to see you there!

Pile 2 - Pie

Main Themes

Cards: Dignified • Strength, Nine of Wands, Five of Swords, Eight of Cups Rev, Strength

I feel like 2024 has tried you. While you’ve been resilient, you’ve still taken a few critical hits and I think the rest of 2024 is going to give you a chance to fully begin to heal. You’ll realise you are cut out for what comes next. Another addition to this theme is that you’ll realise there are no right answers— I think there’s going to be pros and cons of every decision and you have to focus on which you can adapt to better rather than which one is ‘right’. Part of what encompasses these themes is that you’ve tried everything you could, burned out and you’re still unhappy. The rest of 2024 is about acknowledging and being okay with that so you can move on.

Wondering what else 2024 has up its sleeve? 🤭 Join me on Patreon (Extended Access & Up) for a look at the opportunities, challenges, and the final twist still waiting for you this year! Hope to see you there

Pile 3 - Blankets/Throws

Main Themes

Cards: Saturn • Structure, Three of Cups, The Empress, Six of Swords, King of Pentacles

The rest of 2024 looks like taking responsibility and getting into alignment for you. You’re going to be focused on building the foundations for your future. More specifically for some, the foundations of what you want to happen in 2025-26. This could be in every area of your life. You’re legacy is what is highlighted here. The friends you make and bond with for life, where you settle (if at all), what you call home, the beauty you create in your every, the family you have (or not), what you choose to build so you can look back and say “I lived a full life”. A new chapter of your life is being set up during the rest of 2024. It feels like such an exciting and decisive time of your life.

Wondering what else 2024 has up its sleeve? 🤭 Join me on Patreon (Extended Access & Up) for a look at the opportunities, challenges, and the final twist still waiting for you this year! Hope to see you there

[gothcsz]

📹 ── 𝙒𝙀𝙇𝘾𝙊𝙈𝙀 𝙏𝙊 𝙈𝙔 𝙇𝙄𝙏𝙏𝙇𝙀 𝘾𝙊𝙍𝙉𝙀𝙍 𝙊𝙁 𝙏𝙃𝙀 𝙄𝙉𝙏𝙀𝙍𝙉𝙀𝙏! hola cariños, it’s ya girl,  𝙠𝙖𝙩, and my hobbies include thirsting over javier peña and daydreaming. i also read and write too much smut, oops.

explicit content will be found on this blog. pls don’t interact unless you’re 18+.

certified yapper™

my ask is always open

english isn’t my first language. proud morenita mexicana over here!

i’m a flirt, okay, i call everyone a variety of pet names but if you’re uncomfortable with it please let me know 🖤

this is a sideblog. my main is @fridays13th and so is my discord

divider credit / graphic credit

📺 ──  asks.   writing tag.   drabbles.   me speaking into the void. pinterest. spotify. ao3. wips. fic recs. join my taglist. detailed masterlist under the cut.

i’m always taking prompts / suggestions / ideas. thanks to everyone who reads my stories, it really means a lot to me 🖤 remember to support your fave authors  🖤 what isn’t listed in the masterlist is in my general writing tag.

⚠️ all of my reader inserts are able bodied, afab, with curvy mid-sized builds! ⚠️ all fics include smut! ⚠️ i primarily write for javier peña! ⚠️

🎞️ ── thoroughfare. javier peña x original female character [ ongoing ]

religious horror!au. crime thriller!au.   after being reassigned from colombia to a small town in rural texas, former DEA agent javier peña takes on the role of deputy sheriff to tackle a series of mysterious murders plaguing the community. as rumors swirl about a sacrilegious group lurking in the shadows, tension mounts among the townsfolk. amidst the chaos, javier finds himself drawn to paloma, the sheriff’s daughter, who captivates him not only with her beauty but also with her enchanting performances at a local bar. as javier delves deeper into the investigation, he becomes increasingly entangled in the complexities of the case and his relationship with her. inspired by ethel cain’s album ‘preacher’s daughter,’ javier navigates a web of deceit and intrigue, uncovering shocking truths about the town and its inhabitants. ── longfic.

masterlist

ao3

🎞️ ── fantasize. javier peña x f!reader [ ongoing ]

set during s3 of narcos. arriving in colombia for work, you didn’t expect to find the man of your dreams there, and you definitely didn’t expect to prowl after him like some horny vigilante. ── mini series.

masterlist

ao3

🎞️ ── unscripted desire. pornstar!javier peña x f!reader [ ongoing ]

you’re a camerawoman that shoots pornos. javier peña is the pornstar you can’t stand. so why is it that you’re always so affected by him? ── series.

masterlist

ao3

🎞️ ── neighbors. javier peña x f!reader [ ongoing ]

set during s1 - s2 of narcos. what it's like living next door to javier peña. ── collection of random inbox prompts, one shots, and drabbles.

masterlist

🎞️ ── untitled. onlyfans creator!javier peña x f!reader [ ongoing ]

your best friend sends you a link to a very interesting onlyfans page that quite literally turns your world upside down. ── short ‘n sweet two parter.

part one

part two

🎞️ ── worst behavior. secret service!javier peña x f!reader [ complete ]

tired of living in the confines of being the president's daughter— you sneak out, only to be caught by the head of your security, javier peña. ── one shot.

read here

🎞️ ── purgatory. javier peña x f!reader x f!oc [ complete ]

a threesome between you, your bestie and javier peña. ── one shot.

read here

🎞️ ── 𝐈𝐈𝐈. marcus acacius x f!reader x lucius verus aurelius [ complete ]

modern au. lucius aurelius, the stepson of wealthy and renowned architect marcus acacius, falls in love with you, marcus's personal assistant. however, you're already in the midst of a tangled affair with his stepfather. ── one shot.

read here

ao3

🎞️ ── dusk. chief park ranger!joel miller x f!reader [ complete ]

you become a park ranger at a national park in california after breaking up with your ex. you meet joel miller, the chief ranger there, and find yourself absolutely smitten over him. ── one shot.

read here

[copperbadge]

Hey Sam! Would you mind sharing the research (or if you're not comfortable with that, your general search terms) you found on children of parents with emotional disregulation? That's been a theme in my own life, but I haven't found good papers about it myself, so I'd be interested in learning more.

Truly, it is a fucking quest.

So, when I initially searched I only really found one good article on what I think of as the "pop psych" side of things:

The Emotionally Dysregulated Parent by The Curious Nerd

It suffers from the problem a lot of pop psych books do, which is that it offers a highly relatable checklist and very few concrete solutions, but I don't want to criticize that because it's also not claiming that offering solutions is the goal. The article is more of a "Hey is this what I'm dealing with? Yes? Okay" kind of a situation.

Also, to preface: there is a fairly fine but visible line dividing "emotionally dysregulated" from "emotionally immature" which I think is why Adult Children Of Emotionally Immature Parents didn't resonate with me as much as it has for some. Dysregulated parents can have a fairly high level of emotional maturity, they just have wildly unpredictable reactions at times because their emotions overwhelm their self-control. So the impact on the child is less visible, and looks less like the forms of abuse or neglect that we're accustomed to.

More research under the cut but also a warning at the very end for some discussion of some pretty heavy stuff -- I'll put a little bold header before that bit so folks know when to stop reading if they want. (No personal accounts of abuse, just a discussion of abusive behaviors.)

I was looking for more articles like the one above and more research papers about the issue, but the problem was that Research came in three flavors:

All our data comes from surveys that parents took about their own dysregulation and the dysregulation of their small children. This is...interesting, I guess, but it's not good data because it's all self-reported and only by the parents.

We are studying emotional dysregulation's impact on the relationship between parents and adult children...but only in situations where the adult child is the dysregulated one. Obviously this isn't helpful and also what the fuck.

A study that affirms that emotionally dysregulated parents raise emotionally dysregulated children. I know these are necessary in order to build a framework for further research but also, you know, water be wet.

What actually helped me was stumbling across a different term during this research: "High Self-Monitoring". This refers to people who, as children, experienced unstable or irregular behavior from their caregivers and who thus developed the habit of constantly monitoring others' behavior, and others' reactions to their behavior, to ensure that they are accepted and approved of.

I never felt comfortable with thinking of myself as hypervigilant because the behaviors of hypervigilance don't match mine, but the behaviors of high self-monitors do, because they're specifically focused on the behaviors of other people in social situations. Remember how I was literally diagnosed as extremely charming? Yeah, high self-monitoring is a huge part of that.

I haven't had a chance to explore this as much. I hesitate to say the below link is helpful, because I think a lot of his suggestions aren't really valid for people with any flavor of neurodiversity, but I do think his exploration of self-monitoring is generally informative:

How to Become Less Self-Conscious by Matt Norman

Relative to high self-monitoring is another term, "Parentification", which refers to a parent investing their child with the responsibility of parenting a sibling or becoming a caregiver for said parent. This is akin to "eldest daughter syndrome" that you may have seen discussed on Tumblr, but more clinically defined and intense (and less gendered). Again, I haven't had a chance to dig into Parentification, so I don't have more to recommend yet.

Discussion of childhood trauma below, specifically incest. Skip to the next bold header if you don't want to read this.

I will say, very frequently you see Parentification paired with another term, emotional incest, which refers to a parent putting their child in the position of a romantic partner but without the physical aspect of incest. It can involve venting to the child about romantic partners or work problems, depending on the child for emotional support, preventing the child from peer activities or age-appropriate friendships because of jealousy, and sometimes physical contact that's not sexual but also not parent-child appropriate.

I think "emotional incest" is a real behavior but also a really ugly term for that behavior, and Therapist agreed. It feels like the term adds stigma simply because incest is such a loaded word. It's something I have seen people use to refer to their own experiences and that's absolutely their call, I am not going to step to anyone who needs it or feels it applies to their situation. But if the term makes you uncomfortable I think that's also justified. In talking about it, Therapist and I reframed it as Boundary Breaking, but I think with a bit of work I can come up with something a bit more specific.

So, just, if you see a discussion of emotional incest I do recommend you have a look because it's an advanced form of parentification and may be something you want to deal with, but be aware the name may feel like it sucks and be ready to uh, deal with that.

Okay, here's the second bold header, you can come back now.

So yeah, my research has been very surface level, in part because once I found all this I wanted to bring it to Therapist for guidance in further research. But I do think that "emotional dysregulation and parents" is sadly not a great search term. You're better off searching for "high self-monitor" or "parentification" and keeping a keen eye out for additional keywords those searches may generate. Good luck...

[jokeroutsubs]

📝ENG Translation: Elle Men Special: A Fashion Odyssey with Kris Guštin

Article written by Ajda Gregorc, published in the November/December 2024 ELLE Slovenia Magazine. Print and digital versions of the magazine are available for purchase.

Scans and English translation by @kurooscoffee, review by @weolucbasu and a member of JokerOutSubs, proofread by IG GBoleyn123.

Full article translation, scans, and Spotify link are under the cut 👇

🎧 Article available in audio form on Spotify.

Elle Men Special: A Fashion Odyssey with Kris Guštin

With Kris Guštin, the music author and guitarist of Joker Out, we escaped to another side of music, and with that, to his other passion. We talked about style and everything connected to it. There will also be no shortage of this in the band's third album, titled 'Souvenir Pop', which is released on the 15th of November—one week after the issue of Elle you’re holding now. How perfectly synchronised we are!

PHOTOS URŠA PREMIK, STYLING ALENKA BIRK

At Ljubljana’s Moderna Café, on a fresh but lovely autumn Tuesday, when everyone’s still at work or in school, he arrives in a dark green jacket with a checkered pattern, awesome trousers, and her necklace. This time, the menu is not serving music and life, but matcha and "all things fashion." I’m in a regular trench coat and a white T-shirt, but luckily he doesn’t judge people by their style—instead, the style might be what piques his interest to converse, if it's good, of course. Besides, he's the one being interviewed. So, let’s begin! AJDA GREGORC

Interviewer: When did you first discover your personal style or the field of fashion? Was it in childhood or a bit later?

Kris: I roughly divide my life into two periods: before I first held a guitar, and after. When I really got into playing and ventured into music, my world opened up in all areas. Discovering fashion definitely falls into this second period, so the post-high school era. To be completely honest, my style in high school wasn’t something I’m particularly proud of today. (laughs) My girlfriend and I still have a photo of me wearing cargo pants and a black sweater, which is a proof she truly loves me, since that look was far from the best choice. (laughs)

When did it evolve from just a aesthetic impression to self-expression?

My first contact with fashion as a form of art or expression was during our band's first music video or fashion shoot, when I realised that this is also something you need to consider as a musician. At first, it seemed to me like a fairly peripheral element, but as our career developed and we met new people who gave us more insight into this, I began to understand its significance, what I could personally gain from it, and what we as a band could gain. This quickly developed into standard practice. I was increasingly exposed to fashion; we had more and more costume rehearsals and stylings, and two years ago, we even got our first proper stylist. And then I really committed to it—at around nineteen or twenty. Before that, my philosophy was always to "just wear whatever I first find in the closet," but then I shifted to "I'll wear things that would make me stand out from others". But this process was a long one.

So, your style development with the band inspired your personal growth too? I’ve always wondered if a young person is compelled to mature in every area when so many 'big things' happen all at once, as they did for you.

Maybe you do "grow old" in terms of personality sooner. Yes, at first I wanted, and still want, to primarily express the difference or uniqueness that I feel inside myself through music, but then I discovered that this goes very much hand in hand with fashion, so I started looking for my expression there as well. Today, it's almost an equally important part of my day.

Which fashion ideas or directions attract you? You’ve probably encountered a lot of inspiration during your travels on tour, right?

Definitely, but speaking purely origin-wise, I think I’m just like any other rock musician—we draw from the rock aesthetic of the ’60s and ’70s, which was also very "in" when my fashion awareness was born. Back then, around 2016 to 2018, here were a lot of flamboyant shirts on the music scene, with a slight hippie influence, which was the starting point. Only later did I start getting interested in slightly more modern clothes. When I was younger, I found myself in street fashion, that sort of Eminem-esque, hip-hop vibe, so very baggy clothes, which I then began to reject when I made the shift toward the ’60s and a slightly psychedelic aesthetic. It makes perfect sense, as humans tend to jump between extremes. When I had worked through that style, I started discovering the aesthetics of the ’80s and late ’90s, which was also reflected in music at the time. The best example that comes to mind is Dua Lipa’s previous album, which was in the style of the “new ’80s,” and the fashion matched that as well. Today, the early 2000s style has come back, but I haven’t fully decided whether I like it or not. As a musician, I was, of course, initially inspired by other music groups. Arctic Monkeys were a big inspiration for us both musically and visually, as was the whole British rock scene, including bands like The Kooks and Oasis. That entire aesthetic has always been strongly present with us. I doubt there’s a single inspiration board at our shoots that doesn’t include a photo of one of those bands or, for instance, the Beatles. And that aesthetic has always been close to my heart, too.

Rockers have always been associated with more masculine fashion elements, while in recent years, many male musicians have been experimenting with more feminine style elements (for example, Harry Styles and Lenny Kravitz). David Bowie was already the one who back then started to blur these fashion boundaries. You, too, wear such pieces and dare to stand out with them.

It happened quite naturally, as the stylists we worked with always chose slightly more “unmanly” clothing for me. This doesn’t necessarily mean women’s clothing, but rather somewhat more androgynous pieces, which I quickly embraced. I found them interesting and appealing because there’s a lot of fresh expression in that style that I don’t find in traditional men’s clothing, though I don’t want to overdo it. I also started experimenting with them personally, choosing many more varied colours. For a while, I was very fond of pink, and lately, I’ve been playing around with orange. On the cover of the album 'Demoni', I wore an orange-pink sweater.

Are we, as an audience here, already mature enough for a musician to present his feminine side through fashion? Does that require courage?

It does, there will always be people who won’t understand you. But for me, when it comes to the stage or a shoot, I’ll wear anything, and if I feel good in it, I don’t worry about what someone thinks. When I walk around "in civilian clothes," however, especially in Ljubljana, I am still aware if I’m dressed somewhat "untraditionally." There’s a certain boundary that I still need to break within myself. On stage, it’s easier because it’s not necessarily a hundred percent my expression; I’m playing a certain character, but personally, sometimes I do need some courage to show up in a particular style. However, the awareness of being different is stronger in Ljubljana than in other parts of the Western world. For example, I never felt that way in London, but still, our capital isn’t the worst when it comes to this.

Speaking of influences, what about other artistic or cultural movements?

I love art deco, the aesthetics of the '20s and '30s, though it doesn’t influence my daily life. In terms of photography, Damon Baker’s black-and-white style is beautiful. The vintage camera aesthetic has recently won me over, which will also be reflected in our band. Musically, over the past year, I’ve been listening to old Italian chansons and older French music, chansons as well, so I’m clearly feeling very retro this year. (smile)

Will the third album visually stand out from the previous ones then?

Yes, it will be very different. In the last two, we used a lot of colours, but there won’t be as many in this one.

Style can be an excellent tool for expressing an artist's authenticity, but with increasing success, the artist can also become its slave; the line is thin. Do you ever feel the pressure of having to express your fashion style in your private life as well?

No, I’ve never felt like my style owns me; it’s always been the opposite. I’ve always felt like I want more, like I want to dress even better than the day before, especially when it comes to my music career. Perhaps style only hangs over my head a bit when I have no inspiration and would rather wear sweatpants on an ordinary, relaxed day. There’s nothing wrong with that, of course, but then I do think about what would happen if I ended up somewhere in the middle of the city dressed like that.

It seems that Joker Out has developed a distinct style despite outside influences.

Yes, today we are already very complete in our style. Others have definitely had an influence on us, and I think it’s great that each of them tried to express themselves through us – it was interesting to experience how Joker Out was seen by Ponorelli, and how Andraž Drobnič or Karlo Kirri did. Of course, there is a difference in this, but it also aligns with the development of our music and aesthetics, so all these influences are very welcome.

How much of your personal fashion identity is therefore reflected in Joker Out?

Maybe, as someone who is not an external observer, I can't answer that, but I can say that I was always one of the first to give feedback to the stylist when we were creating our outfits, approving moodboards, and so on. So, I have definitely shaped our style in a direction that suits me. On certain "blind stylings," when we just dressed up, I quickly threw something on myself and then helped look for pieces for the other band members.

What about this photoshoot, where Alenka Birk took over the styling? Did you let her take the lead with her tactics, or did you collaborate on fashion choices? How did the communication go?

I didn’t know Alenka, who, by the way, is an excellent stylist, before. She was recommended by Urša (the photographer, ed.). Later, she confided in me that she had also worked with my father. Alenka focuses on elegant men's fashion, which is a departure from this more fluid fashion; and this suited me because I had never really been photographed in a men's suit, jacket, and tie. I wanted to try something new. I hadn’t seen the outfits before the day of the photoshoot when we met in her small studio in the morning. There were nine of them in total, and we only swapped out a piece or two in at most three of the looks.

This is more of an exception than a rule in fashion photoshoots. Does that mean you felt good in them?

Yes. In some more so, obviously, but in others, you have to trust the people you're working with. When I first look in the mirror, I always keep in mind that if something isn't optimal, it doesn't mean it won’t work well on camera. Even if the pants are too short or creased, it's still worth photographing them, because the photo can be edited later, whereas on stage, it's a different story, and everything has to already be perfect in the mirror. Working with Alenka was very simple; we clicked really well, and I will definitely work with her again.

How linked are your confidence and the way you feel on stage with your styling?

Very connected. As a musician, you want to enjoy yourself as much as possible on stage, and the people who come to listen to you and pay for the ticket deserve to see you at your best, which means you have to feel good in every aspect.

You recently attended Ljubljana Fashion Week. Which of the local fashion designers do you like to follow?

As far as the Slovenian fashion scene is concerned, I’m still quite the beginner, so I only knew the designers we had worked with. This was my first time visiting the Fashion Week.

Which shows did you watch?

On the first day, all of them. I didn’t like everything, but what stuck in my mind was Sarivalenci¹ with their somewhat "country club", Lana Del Rey vibe, and golf moment. I also really enjoyed the Belgrade Fashion Week, as there was an obvious Balkan touch, which I would love to see more of in Slovenia.

¹Sarivalenci is a Slovene high fashion brand created by fashion designer Sari Valenci.

You are a fan of vintage clothes and second-hand shops. What do these pieces have for you that new ones don't?

Honestly, I don’t know if there’s an objective explanation why. I started getting into it because it was popular, and at the same time, it gives you the feeling of getting a more unique piece. At the same time, you're shopping sustainably and not contributing to the production of unnecessary new textiles on Earth, which is great, but I would be lying if I said that’s my main motivation. What I like the most is the experience of "flipping" through clothes, where each piece is different, like a treasure hunt, compared to regular stores where you "flip" through the same clothes in different sizes.

Did your mum, who comes from the Netherlands where people have been aware of this for many years, introduce you to this concept?

I wouldn’t say we talked much about it at home, but I literally lived it. This is probably true for Slovenians in general – almost all the clothes I had as a child were from older peers, or I would take something from my dad, too. When I was done with wearing the clothes, my brother would wear them too. Every piece of clothing that came into our house was passed around, which is a great practice, and it’s still like that today. My sister "stole" half of my sweaters, my mum sometimes takes something too, Maks borrows jackets from my dad, which I’ve also done myself. It's like we all share one big closet! (laughs)

So you have influenced each other’s style in your family, or rather, you still do so? Who has otherwise had the most influence on your style in the past, and who does today?

I don’t remember ever looking at my parents as role models in this regard, as I didn’t really think about it back then, but they definitely influenced me, at least subconsciously. When I see how my mom dresses today, I see parallels with my own style, so she probably did influence me, perhaps more than my dad. As for street style, which I mentioned at the beginning, it might have been inherited from my uncle, my aunt’s husband from the Netherlands, who wore loose sweaters and listened to hip hop. My mum also had an uncle from the Indonesian side of the family, whom I never met, but he was very eccentric. Some of his clothes made their way to us over the years, and when I looked at these pieces in the closet, I was fascinated by how they reflected his personality. Asian fashion became a bit closer to me because of this, and I might even explore it someday.

The heart necklace you wear all the time, even today, is from your girlfriend. Do you ever dress your girlfriend or does she dress you?

My girlfriend is very fashion-oriented and has played a big role in my fashion development. She has always encouraged me when I tried new clothes that, at the time, seemed more radical to me. In this way, she partially shaped me. We also really enjoy shopping together. She dresses me more often than I dress her, which means I ask her for opinion. There have also been times when we’ve dressed the same when it comes to basic pieces; we’ve never really styled each other, but there will probably be time for that in the future.

Where do you like to go for vintage pieces in Ljubljana? Did you find any gems while on tour across Europe?

Textile House Vintage Shop is, in my opinion, by far the best in Ljubljana. The next one is Humana on Stritarjeva street, where I find something every now and then. Abroad, we’ve visited many vintage shops in Dublin, Paris, and London. In the latter, I always go to Brick Lane, which is a street with vintage shops in the east side of central London, where the more hipster area starts. The downside is that it quickly becomes quite an expensive experience.

What kind of information can you deduce about a person based on what they’re wearing? Who, in your opinion, is truly well-dressed?

A person’s style is never a reason not to engage in conversation with them, but it is a very strong stimulator of my interest in that person. If I think someone is really well-dressed, I automatically assume they might think similarly to me and be interested in the same artistic, musical, or visual directions, so I’m more eager to talk to them. However, I’ve often met people who didn’t seem interestingly dressed, and later realised they were amazing people, even if they dressed completely casually.

Your audience expresses itself very differently in terms of fashion, as your parents also mentioned in a recent interview for Elle. How do you as a band perceive this?

Yes, what they meant was that it is no longer the case that you have to be "appropriately" dressed for a rock concert. When we observe the audience from the stage, I would say that the most typical thing for our time is that we are no longer genre-bound. Not just musically, but also in terms of fashion. 30 or 40 years ago, you would see people at a rock concert in leather jackets, black shoes, and jeans, and that was it. Today, you have flamboyant outfits with blue and green hair in one corner, gothic style in another, and of course, people in simple t-shirts and pants somewhere in the middle. And no one feels like they don’t belong; everyone sings our songs, and that’s really nice.

- ~ - ~ - ~ - ~ - ~ - ~ - ~ - ~ - ~ - ~

❗Please do not repost without credit, and if you quote, please link back to this post!

[taintandviolent]

Thankful ; Jimmy Darling x Reader

summary: 🦃 It's Thanksgiving, and the troupe is enjoying a collaborative dinner. You're sat next to Jimmy Darling, who you've been flirting with on and off for the past week. After dinner, you discover that he's still hungry.

word count & w a r n i n g s: 1.9K! | food mention, mentions of arousal (both male and female), semi-established relationship, semi-public making out and cunnilingus.

a/n: requested by @american-horror-whore! I hope this was everything you wanted bby!! thanks for the request, I so so so missed writing for my boy. also happy early thanksgiving to my followers!! i'm super thankful for all of you guys! divider by @/strangergraphics

↓ full fic under cut! ↓ / ao3 link here! / I don’t have a taglist anymore, but please turn on post notifications if you’d like to be notified of future fics!

It’s Thanksgiving, and you’re feeling mighty thankful. That was for sure. You scoop the last bit of sweet potato casserole into your fork, smiling over at Eve as she recounts one of her favorite stories from days past. You’d been a member of the show for a month now, but they’d wasted no time in making you feel like you’d been there since the beginning. You’d found a specific sort of camaraderie there, the kind that only comes from shared experiences and understood feelings. It must be similar to a sort of sorority or something.

Jazz drifts from the record player in the corner, serenading everyone with a relaxed romanticism. The wooden table is stuffed with dishes; almost everyone had pitched in to make something for the dinner. You’d made the stuffing, and helped Ethel with the turkey. As a little extra decoration, you’d gathered some of the fall leaves and scattered them along the table, which paired nicely with the candles that Elsa had brought in from her tent. Everyone was in good spirits, but especially Jimmy Darling, who, like everyone, had been indulging in a little of his mama’s hooch.

He’s drunk, his complexion flushed and healthy. He keeps leaning into you, letting one of his large hands make a fist in your skirt, hiking it up and tugging it towards him. You scoot closer – as close as you can without being on his lap. Your cheeks hurt from smiling so hard, but you can’t help it; the butterflies that he gives you take control of your system the second he’s in the room.  

“Hey dollface,” Jimmy suddenly murmurs next to you. “Pass the pie, would ya’?” 

“Only if you cut me a piece too, Jimmy…”

You don’t wait for an answer before pushing yourself up off the bench just enough to reach the plate of pumpkin pie, carefully sliding your hand underneath the ceramic dish. Desiree had baked it along with the sweet potato casserole that afternoon and you were fairly certain that everyone had been eyeing it the entire dinner. The top of the pie was a perfect orange, glazed and delicious, while the crust was a delicious looking golden brown. To top it off, it was still warm. 

You set the pie in the space between you, smiling politely at Jimmy as he got to work cutting out a slice with his fork. The first one goes to you with a bright, crooked smile; he was always such a thoughtful, handsome gentleman. Admittedly, that was part of the reason that you two had been courting each other for a week now, secretly meeting to kiss and explore each other’s warm bodies in the dead of night. You weren’t embarrassed of him, nor shy, but he was very aware of the rest of the troupe’s prying eyes, specifically Elsa’s and thought it better if for now, you two kept things quiet.   

Eve’s eyes flit to yours, a tender smile on her lips. You think she knows, but she’s got enough sense not to say anything. You blink slowly and turn your attention back to Jimmy, who has his hand on your bare thigh now, fingering the silky hem of your nylons. Underneath the table, you toy with Jimmy’s ankle, rubbing your own against it and lifting the pant leg. He lets out a little moan through closed lips – inaudible to everyone but you – and squeezes the meat of your thigh. With a mean poker face, Jimmy takes a forkful of the pie and shoves it into his mouth. To everyone else, he just looks a little buzzed – which he is. But to you, he looks buzzed and horny; from the way those brown eyes are half-lidded and heavy to the way his jaw hangs slack every time he looks over you, scanning your body and kneading your thighs like dough. You pick up the tiny nuances of his arousal and gobble them up as quickly as you do the pie. 

The rest of the dinner goes on with laughter and shared stories until Elsa announces that she must get her sleep. Ethel stands up to begin clearing the empty dishes. You get to your feet and help her, knowing full well that she intended to do it all herself. 

Once you finish, you head out of the main tent, wiping your hands on the back of your dress. Everyone’s dispersed. Jimmy’s gone – probably stumbled back to his trailer in a drunken food coma. You laugh to yourself and head back to your caravan. 

Just as you pass his trailer, Jimmy emerges from the shadows, a flash of skin as his conjoined fingers wrap around your smaller wrist with ease. “No, no… where do you think you’re goin’, sweet face?” He tugs you back towards his trailer. “Baby, c’mere…” 

His back hits the metal exterior of his caravan with a thud and he pulls you atop of him, wrapping both his arms around your lower back. Maybe it was fate, maybe it was coincidence. Whatever it was, had put your trailers next to each other the day you’d rolled in. That made it very easy for you two to canoodle whenever you wanted without attracting too much attention. 

Hidden in between the two trailers, amongst the sound of rustling grasses and distant cars, you press your lips against his plush, pink ones and dive in. Kissing Jimmy is like licking the inside of a honey pot; it’s addicting, warm and the saccharine notes of his kisses coat your tongue. Every single time. You fall into the familiar rhythm of kissing him, grinding your hips back against his as he urges them into yours. You’ve been here before, many times in the last seven days, but it hasn’t gotten old yet. 

Your nimble fingers reach up, pulling the shirt buttons from their slits until you reach his belly button, and stop, too distracted with the way he’s kissing you to continue. “Oh, Jimmy,” you say against his skin.  The chill of the November air contrasts with the heat that rolls off his bare skin.

“I’m still hungry,” he growls into the curve of your ear, peppering feverish kisses along the nape of your neck. You can’t help but chuckle softly as you lean your head to the side, amused that at a time like this, Jimmy’s thinking of food. With your hands planted firmly on his pectoral muscles that are exposed through his half-open shirt, you gently push him off and look into his coffee black eyes. 

“Well, Jimmy, there’s plenty of leftovers – you should’ve eaten more! We can –” 

“No, baby. Not that kind of hungry.” His hips punctuate his sentence as he drives them into the soft flesh of your upper thigh. 

Feeling the rigid bulge against your thigh, your breath catches in your throat. You reach down and pull his head off of you, his lips still poised to kiss. You let out a giggle and move your hands down his neck. 

“Yours or mine?” You ask, flipping the collar of his shirt between your fingers. 

“We’re facing yours.” 

Bracing yourself against his trailer, you push yourself off of it, and grip the collar of his shirt like a leash on a dog, towing him in the direction of your quaint little caravan. You carefully walk up the steps and throw open the door, muttering a word of warning to not trip. He does anyway, too drunk and too horny to watch his feet. 

As soon as you’re inside, Jimmy’s got his hands wrapped around your waist and he doesn’t hesitate before lifting you up onto the small kitchen counter. Giving you room to sit, he pushes the tins of coffee and tea back against the wall. His hands slip underneath the fabric of your dress, ghosting along the curve of your ass and to the roundness of your thighs, his fingers leaving trails of heat everywhere they go. 

“Mmm, baby, you feel like you’ve got a fever. Your body’s on fire…” 

You hum, adjusting your hips on the counter. “There ain’t a single person to blame for that besides you, Jimmy….” 

He chuckles and lets his hands continue their journey, sweeping around to the front of your kneecaps, which he gently pulls apart. His inky hues connect with yours as he slowly lowers, getting to his knees in front of you. You watch him with quirked lips, indicating amusement, though your eyes are bleeding lust. 

Jimmy takes your dress in his hands, lifting it up to expose your center. The satin of your panties is already stained with arousal. It’s leaking into the fibers and creating a wet spot.

“Hooo’, baby… look at that.” His smile is proud, delighted that he’s responsible for it. 

“I hope you saved room.” You tease. 

“Oh, honey…” Jimmy runs his thumb along the clothed slit, and you shiver. “I always have room for dessert.” 

His fingers hook around the elastic of your panties and yanks them down. He leaves your garter belt on, as it poses no nuisance to him. Now free of fabric, your cunt clenches visibly as he nears her. His lips part, pressing an open mouthed kiss to your slick folds. Your hand snaps to his shoulder, gripping it hard. “Fuck, Jimmy… I…” 

Your hand moves to gather the dress of your skirt up, pinning it in place. The other hand finds a home in Jimmy’s soft, brown locks, pulling tight as his tongue laps at your cunt with a flat tongue. You mewl happily. What a sight; your nylon-covered legs over the shoulders of the most handsome man you’d ever met, his head buried between your thighs. 

His tongue flexes, points, and flicks at your quickly swelling clit. You shudder and clamp your legs around his head, a full body reaction. “Huh… Jimmy… oh my god.” 

He kisses her again, his tongue stretching down to meet your leaking entrance. Now he’s the one vocalizing; you’re sweet, pink and wet and he can’t help himself. Another kiss, but he closes his lips around your clit to suck on it gently. 

He pulls away, just for a second to ask: “Feel good?” 

You nod hurriedly and tighten your grip in his hair, pulling his head back and forth onto your cunt. Your middle finger twirls around a single curl and you hum a string of expletives, forcing his tongue deeper into your folds. 

“Mm! – yeah! – baby! –” Jimmy says in between your forced thrusts. He’s not used to you taking control like that, but like hell he’s going to complain. 

The white hot coil in your stomach winds tighter, creating an inexplicable pressure in your lower abdomen. Jimmy’s relentless, as if he knows this, and keeps at it. Not that you had any plans of loosening your grip on his locks. Mirroring your strength, Jimmy’s hands grip your thighs tight, pressing them open as far as they’ll go. You throw your head back and a deep moan escapes your lips, expelling some of the built up tension. 

“Fuck, fuck… Jimmy… right there… right there….” 

Jimmy suckles your swollen clit, and brings one hand to your entrance, teasing an intrusion with the tips of his fingers. They breach it, just enough to make your whole body tense up, and the coil snaps. All at once, you buck your hips forward, forcing Jimmy’s digits inside your cunt, his nose bumping into the flesh above her. He feels every shuddering clench, and rides it out, lapping at her like an ice cream cone. 

Once the slick pulses subside, he pulls back and brings his palm to his face, wiping his glistening chin. For a second, he admires it, tilting his hand back and forth, watching as the collected spit and arousal catches the light. 

“Mm-mm-mmm! Now that’s something to be thankful for, baby.”

Through labored pants, you mutter a response. “Oh, I’ll show you thankful, baby. Get on the bed.” 

[whumpmasinjuly]

Now introducing the prompt list for Whumpmas in July 2024! 

Thank you for patiently waiting! As a reminder, we will not be reblogging any creations on this blog and will instead keep this blog as a space to only post the prompts, tags, and relevant information. We will post the tag for each day, and we ask that you use two tags when filling prompts this year so that others may find your creations easily:  Tag 1 —> #wij24day__ (Fill in the blank with the appropriate day number for the prompt you are filling! For example, if you are doing the prompt for day 21, make sure to tag your post with #wij24day21.)

Tag 2 —> #whumpmasinjuly2024 Be sure to also tag @whumpmasinjuly-archive if you would like your posts reblogged to our new official archive account! Of course, feel free to use any other relevant tags too! You can also find a banner that you can use in your posts (if you want, not required) under the #wijbanner tag.

The prompts are divided into three categories: community (red boxes), question (green boxes), and creation (white boxes). Everyone is free to participate as much or as little as they want–there’s no completionist requirement! This list provides a preview of the prompts, but on each day a more detailed post will be released with more context and additional suggestions for each day’s task. Similar to previous years, all prompts and other important information will be found under the #infowhumpmasinjuly tag and #infowij24 for ease of access. This blog will also use the tags #wijquestion , #wijcommunity , and #wijprompt respectively for each post so that you can filter and find the type of prompts you’d like to do. 

Below the cut is a text list of this year’s prompts:

1. (Re)Introduce yourself 2. What are your top three favorite whump tropes? 3. "______ deserved it" 4. Post a whump prompt for someone else to fill on Day 28 5. Share a TV show, movie, or any media that gives you the whumperflies! 6. Left Behind 7. Post a link to your favorite whump fic of all time! 8. Describe your favorite type of whumper 9. Mind Games 10. Check out a new whump blog and drop them an ask 11. What songs/playlists are perfect for whumpy daydreaming? 12. Caught 13. Share some of your favorite niche whump tags! 14. Describe the ideal fic you've always wanted to read, but have yet to find/haven't written yet. 15. A Soft Reprieve 16. Create a whump meme! 17. What has been your most recent whump obsession? 18. "Or else" 19. Create a list of some of your favorite whump blogs to share! 20. What character do you wish to see whumped more in canon/fan-made media? 21. Abandoned 22. Find a story/author you've never engaged with before, and leave some nice comments! 23. What is your favorite type of whump setting? 24. Denial 25. Share a sneak peek of something you're working on 26. Describe your favorite type of whumpee 27. Delirium 28. Fill someone's whump prompt from Day 4 29. When did you get your first whumperflies? 30. "I'm here" 31. Who is someone in the whump-creating world that you admire and why?

[eddiediaaz]

alie! I absolutely adore this mirrorball x buck set that you made last year! (/post/701462848238403584/) (also I can't believe it's been a year, like seriously what is time?) I was wondering how you did the shattered glass effect in the first gif? in particular how you made the black and white gifs appear distorted within the glass if that makes sense? thank you!!!

ahhh thank you so much renee! literally what is time lol, this gifset is still one of my faves that i made. the shattered glass effect is mostly just a lot of layer masks to be honest hahaha. i'm so glad i still have the psd, so here's how i did it under the cut~

(this tutorial assumes you know how to put multiple gifs in the same canvas and are familiar with layer groups and masks)

I. PREPARATION

first things first, create an empty canvas of your desired size. mine was 540x540 px.

then, you need to find a cracked glass texture. if i remember correctly i simply googled something like "broken glass png", "cracked glass png", because i wanted something already transparent.

(a texture that's something like black lines over a white background definitely works too, you'll just have to put that layer's blending mode to darken or multiply.)

here's the png i used (and a download link for best quality):

and after positioning it into my canvas.

II. CREATING MAIN SECTIONS FOR GIFS

so basically when i did is i sectioned parts of the texture for each gif that i wanted to put. following the texture's lines, i zoomed in and carefuly drew a first shape along the lines with the polygon tool. you can also put a color fill layer behind the cracked glass layer so it's easier to see, like i did.

once you have your shape selected, click on the folder icon (1), then on the layer mask icon (2). it should give you a nice masked group to put gifs in hehe

then i repeated the process until i had all of my desired shapes. i've put some color layers so it's easier to see, but here are my 6 main shapes and how my layer groups look like so far:

III. GIFFING TIME

after screencaping and making all 6 gifs required for each section, you need to put all of them in the same canvas. i simply put one smart object gif layer in each group created earlier. then, i resized and rotated each gif to fit its group (by hitting ctrl + T while selecting the gif layer), as you can see with the gif labeled 6x02 in the layers preview. for the coloring, i went simple with black and white for most of them.

once i have all six gifs sharpened, colored, and placed in each shape group, the gif looks like this. the broken glass texture does most of the work to be honest:

obviously the center gif doesn't have any kind of effect, it's just colored as usual, so i'm not gonna go over it. it's just one gif layer in a masked group.

IV. SUBSECTIONS FOR DISRTORTED EFFECT

okay so for the distorted effect it's even more layer masks! basically i created more smaller sections within each main shapes already, still following the cracked glass texture's lines with the polygon tool and put them in individual masked groups like i did in the second step. here's how i ended up dividing each main sections:

yep, each color here is a different masked group, for example the 2nd and 3rd shape sections:

for each main shape section, you want to duplicate your gif layer the same amount of times as you have subsections within that shape. so if the main shape has 5 smaller subsections, i want 5 layers of that same gif. just make sure to not change its duration or position yet, and make sure the coloring layers/group stays on top of the groups in its shape section. then, simply put one gif layer duplicate in each group. example of my layers for the second shape so far:

then just repeat this until all subsections have its own gif layer.

V. DISTORTED EFFECT

this is the best part! and it's really easy. basically you want to slightly move each subsection by a few pixels, so they're in a slightly different position than the ones next to it.

to do so, select one of the gif layers and with the arrows on your keyboard, move it left or right, and even up or down if it looks good. i do this for all duplicated gif layers, making sure it looks like they're all slightly offset. focus on the cracked glass overlay's lines while nudging the gif layers, it's easy to see how the shapes break when you move them. for example here:

this is really just all trial and error, you just need to move each subsection gif layer by a few pixels with the keyboard arrows until it looks good to you.

here's my result once i've done this for all (23!!) subsections:

VI. FINAL TOUCHES

i don't think i did much else to this before typography besides adding a bit of contrast overall and a thin drop shadow to the cracked layer texture on top of everything. if you have a transparent png this definitely helps to give a bit more dimension to the effect. so here's the final result:

i hope that was clear enough hehe :D

[summer-of-bad-batch]

SUMMER OF BAD BATCH 2024 HAS COME TO AN END…TUNE IN NEXT YEAR FOR SUMMER OF BAD BATCH 2025!!

2024 Participants, Completionists & Overachievers!

SUMMER OF BAD BATCH 2024: POST CREDITS (Ao3 Collection)

EVENT BADGES

PARTICIPANT FORM

☀️GENERAL INFORMATION BELOW THE CUT☀️

Bad Batch Would You Rather Game Suggestions

FREE EVENT BANNERS AND DIVIDERS

Summer of Bad Batch 2024 Prompt List

***Fill prompts all summer! No deadlines! See below cut for more details 😎***

200 Followers Celebration Bonus Prompt:

Bonus Alternate Prompt: "Can you braid my hair?"

300 Followers Celebration Bonus Prompt:

Bonus Alternate Prompt: Light in the Darkness

Week 1

Main Prompt: Water Gun Fight

Alt. Prompt: “It’s not what you think.”

Week 2

Main Prompt: Injured

Alt. Prompt: Comfort Zone

Week 3

Main Prompt: “It’s just a scratch.”

Alt. Prompt: “Forget I asked.”

Week 4

Main Prompt: Cadets

Alt. Prompt: "You really think you're going without me? Not going to happen."

Week 5

Main Prompt: “You’re a bad liar.”

Alt. Prompt: “Need a hand?”

Week 6

Main Prompt: Battle Scars

Alt. Prompt: “Get out of my room!”

Week 7

Main Prompt: “Don’t avoid the question.”

Alt. Prompt: Getting a Haircut

Week 8

Main Prompt: Swimming Lessons

Alt. Prompt: Lula

Week of 9

Main Prompt: “Hold still.”

Alt. Prompt: Stargazing

Week 10

Main Prompt: Hugs

Alt. Prompt: “Just when were you planning on telling us that?”

Week 11

Main Prompt: “I didn’t think I would get this far.”

Alt. Prompt: “Yeah, kid, we’re fine.”

Week 12

Main Prompt: Nightmares

Alt. Prompt: Radio Silence

Week 13

Main Prompt: “Stop touching me!” // “I’m not touching you!”

Alt. Prompt: Crashing Hard

🥳🥳That’s the end of the Summer of Bad Batch 2024 prompt list…feel free to use all prompts and tags forever and ever🥳🥳

You can find the Ao3 collection HERE!

And I know that sometimes, it can be a pain to figure out how to add to collections (please tell me I'm not the ONLY one who has struggled with this 😭), so here's a step by step!

STEP ONE: Post a New Work OR Edit an existing work.

STEP TWO: Under the Associations category, you’ll see “Post to Collections / Challenges”

STEP THREE: Type summerofbadbatch2024 (no spaces)

STEP FOUR: This is where it gets tricky...the collection may or may not auto populate. If it doesn't, that's okay. Just leave summerofbadbatch2024 in there as is, and save the post (you can even save it as a draft and see if it worked!) It should add it to the collection even if it didn't auto populate 🤓

Q: What is Summer of Bad Batch??

A: Summer of Bad Batch is a laidback, summer prompt challenge from June 1st-August 31st. Every Sunday (12am CST), a prompt and alternative prompt will be released to inspire creativity in the Star Wars: The Bad Batch fandom! By filling prompts by August 31st, you can qualify as a:

Participant (completed 1-12 prompts)

Completionist (completed 13+ prompts)

Overachiever (completed 13 main prompts + the 13 alternative prompts)

At the end of the challenge, there will be a form for participants to fill out to let me know what category of completion they fall into. A post will be made for each category giving a shoutout and (if you’d like) a link to your Master List of completed prompt fills.

Q: What can I do to fill a prompt?

A: Anything you want! Fanfic, fan art, drabbles, doodles, cartoons, poetry...the possibilities are endless! The only real criteria is that it has to be based on Star Wars: The Bad Batch.

Q: Will you reblog prompt fills?

A: Yes! However, since I am keeping this blog PG, I will only reblog prompt fills that fit within that criteria. Basically, if it could be in the literal show itself, it could be reblogged here ☺️

(That said, I won’t reblog any clone x clone content simply because it is one of my main squicks 😅)

Also, make sure you tag your prompt fills! That's the only way I'll be able to find them in the wide world of Tumblr! So, tag your prompt fills with #summerofbadbatch2024 so I (and anyone else who is looking for Summer of Bad Batch goodness!) can find your posts!

(And everything is welcome on the Ao3 Summer of Bad Batch 2024 Collection — so make sure to add to it if you’re on Ao3!)

Q: When will prompts be released?

A: Every Sunday (with the exception of Week 1, which will have a special release date of Saturday, June 1st) at 12am CST.

Q: What if I don’t understand a prompt?

A: Send me a message or an ask! I’d be happy to help!

Q: What if I don’t like the weekly prompt?

A: Every week will have an alternate prompt available! And alternate prompts can be swapped out for any main prompt, regardless of which week!

Q: Where can I post my prompt fills?

A: Anywhere you'd like! Personally, I'm only on Ao3 and Tumblr...but I know that this fandom is literally all over the internet, so wherever you feel comfortable posting, do it!!

Q: What if I don't finish filling the prompt within the week?

A: One of my favorite parts of this prompt challenge is that there are no deadlines! If you want to be a Completionist or an Overachiever, you just have to have the prompts complete by August 31st!

Finished week 2 during week 5? Great!

Finished weeks 1-13 during week 13?? 😅 That works!

Q: Do I have to post/publish my prompt fills to be considered a participant/completionist/overachiever?

A: Nope! I know not to everyone feels comfortable sharing their work, and that’s totally fine!

You don’t have to post/publish a single thing to qualify. At the end of the challenge, I’ll link a form for anyone who participated to fill out. This is all based on the honor system…so if you say you completed “such and such”…I’ll take your word for it 😊 If you want, you can still be given a shout out for whatever level of participation you said you completed. Just let me know!

Q: Can I combine prompts?

A: Yes! Mash up those prompts and make a custom, super prompt if your heart so desires!

Q: But can I combine prompts with other challenges?

A: Absolutely! If the other challenge allows it, feel free to combine Summer of Bad Batch as you see fit ✨

Q: Can I apply prompts to works I've already completed/posted?

A: Prompts should not be applied to already completed works.

But if you have a WIP that's been gathering dust that would fit the occasion, that would be fine!

Have a story that you're adding chapters to? You can apply prompts to new chapters! That's fine too!

Q: Will there be a complete prompt list available?

A: Not until after the event, since prompts will be posted weekly 😘

Q: Can I use the prompts even after the event has ended?

A: Absolutely!

You didn’t find your question here?? Send me an ask, I’d be happy to help!

[here-sean-once-was]

List of vetted Palestinian families that have reached out to me (part 1)

as Tumblr tells me I have reached my daily limit, I'm not able to reblog every day all the posts with the gofundme links of all the people that are asking me for help. I am now compiling this list of all the Palestinian families that have reached out to me that are in need of Help. I will still be answering asks and reblogging what I can.

Please consider donating to these campaigns if you have the means to do so.

I will reblog this series of posts every day, I will try to update the list frequently and I will also add more families at the end of every week.

the list will be divided between vetted and unvetted campaigns

link to the gofundme tag on my blog, this is always updated

part 2 / part 3 / Part 4 / part 5 / part 6 / part 7 / part 8 / part 9

unvetted campaigns list

the first part of the list will be under the cut

please contact me if you need me to edit something

Vetted Campaigns

@saveyouseffamily / @girlquee / @khadiga22 / @youseffamily / @khadigayousef2024

link to their post

gofundme link

€25,378 /€30,000

2. @karamalmadhoun0

link to their post

gofundme link

€19,015 /€20,000

3. @momenalstaz

link to their post

gofundme link

€26,870 /€70,000

4. @lobnaalser / @ahmadelser / @lobnaalseer

link to their post

gofundme link

€10,107 /€50,000

5. @mo-shamia / @moh-shamia

link to their post

gofundme link

GOAL REACHED

6. @asmaayyad / @samaayyad15 /@esraayyad14

link to their post

gofundme link

€26,750 /€45,000

7. @abdallahblog0 / @abdallah-gaza

link to their post

gogetfunding link

paypal link

gofundme link

$2,695 /$30,000

8. @husseinshamia / @rehabsh98

link to their post

chuffed link

£404 / £40,000

9. @mahmoud1995

link to their post

gofundme link

$19,302 /$50,000

10. @mohamed-mikki

link to their post

paypal campaign link

2 198$/20.000$

11. @yasermohammad

link to their post

gofundme link

€27,541 /35.000€

12. @ghaziyounes1967 / @ghaziyounesalternative

link to their post

gofundme link

$5,464 /$50,000

13. @emansalem

link to their post

gofundme link

€5,434 /€33,000

14. @hamdi-shiltawi

link to their post

gofundme link

€20 /€50.000

15. @abdalhadiaburas / @abdalhadyhisham / @abedalahdiaburas

link to their post

gofundme link

$6,645 /$65,000

16. @waseem4gaza

link to their post

gofundme link

€3,425 /€15,000

17. @maria-gaza1

vetted by association

link to their post

gofundme link

$14,781 /$30,000

18. @kareem-family

link to their post

paypal link

6 591€/15.000€

gofundme link

€11,436 /€20,000

19. @hazemsuhail / @nisreensuhail / @nisreen-suhail

link to their post

gofundme link

€16,874 /€50,000

20. @amna-merwan / @amnahab

link to their post

gofundme link

€14,729 /€50,000

21. @heba-baker / @aya-baker

link to their post

gofundme link

€6,045 /€60,000

22. @family1234567 / @freegaza1234567 / @moatazsstuff / @mmmaasblog

link to their post

gofundme link

€4,827 /€50,000

23. @aseelo680 / @asil60 / @aseel68

link to their post

gofundme link

$70,450 /$100,000

24. @farahh2003 / @severeninjanight

link to their post

gofundme link

£6,720 /£10,000

25. @mohammed-665

blog deactivated

[wheregoodthingsthrive]

▲ Hopping onto the 'post your LoZ aus/originals' train cause I can no longer keep it in my head + oc I've wanted to post since forever. More under the cut if you're interested, it's just me yapping.

Anyways hi welcome to below the cut.

My LoZ story is really into the whole 'divine purpose' trope but also the variants I can put onto it. In this Hyrule, the kingdoms are not unified. Based on the BoTW map, there are the Central Hylians, the Sheikah, the Lurelin-Hylians, fresh water Zora, the Gorons, Akkalans (also might be the Ikana, shout out to MM but not sure), the Tabantha Rito, the Hebra Rito, the Kokiri, and the Gerudo. The only allied kingdoms are the Hylians, Sheikah, Goron, and Zora.

However, despite the disunity, there is one thing that unifies each kingdom: the sages. The cycle of sages forms the Council of Sages, rotating in seats based on which race gets what sage at that point in time. The sages are: time, light, shadow, spirit, fire, water, and wind.

Sages only do so little. After a sage is born into Gerudo territory, who have been at conflict with Hyrule, full war breaks out between the two and their allies.

Zelda is the newly anointed Queen Zelda after her mother passes and King Rhoam is killed in battle against the Gerudo. She bears the Triforce of Wisdom and is the reincarnation of the goddess, Hylia. She is determined to end the war against the Gerudo and defeat the works of Demise in her world. Her closest friend is Link from early teenage years.

Link is the Hero of Hyrule, bearing the Triforce of Courage which lays dormant until his final clash with the Triforce of Power. He is from a Lurelin-Hylian village, brought to Hyrule Castle to live and train after he is prophesied to be Hylia's Champion. During his time in the castle, he becomes close friends with Zelda and often trains with her. He is the Alice to the Gerudo's Jabberwocky.

Ganondorf is the king of the Gerudo, an empire in the depths of the Gerudo desert. He is also the bearer of the Triforce of Power and the vessel for Demise. He picked up his chieftain mother's war against the Hylians as his own. Additionally, he was raised by the twin witches Kotake and Koume, priming him to be the perfect vessel for Demise. To him, being Demise, power, the dark beast - what have you - is the way to protect his kingdom and to take Hylian land for their benefit.

Riar'svah is the sage of spirit, being a spirital guide to the Gerudo people (Gerudo governance comprises of three parts: chieftain/king (force), elder witches (magic) and a spiritual guide/priestess (spirit)). She and Ganondorf are close companions and she joins him in the war against Hyrule. When Ganondorf is defeated by Link and Zelda, she leads the rest of the Gerudo into war and upon their defeat, she divide the valley, isolating the Gerudo from the mainland - beginning their isolationist, thieving history.

[necroangelz]

i want to quit being a magical girl !!

self-indulgent edit

K-ANGEL RENTRY INSPO! this is so cute wahehehehhe so i wanted to share it with everyone ... tapping on 1 and 2 will take you to other pages, tapping on the angel button will take you back to the first page, and tapping on the graphic and heart dividers will take you to the credits for those. the rentry is linked on the words "quit" and "magical." the rentry was made in light mode and is meant to be used in light mode.

rambling + recolored assets under the cut. like/rb appreciated! please only use this as inspo, this is not a template! please do not tag this with anything that will imply you are k-angel.

NOW PLAYING: Magical Girl and Chocolate by PinocchioP !!

i just could not resist the urge to yap about this HAUDHSUDJSHJD i initially made this rentry to like, practice or train myself i suppose? because i want to learn to make lots and lots of rentry layouts (bc I've seen so many good graphics, and made many good graphics myself wahahha, that i just want to make rentrys with them! and i want to post rentry templates someday) so yeah this was my practice! it turned out SO FUCKING GOOD and I'm really proud of it! i love the layout, i love what i did with the buttons (this is also my first time putting links in images!) i love the COLORS!

with this rentry i learned how to recolor pixels. since i only use ibispaint for everything i can't recolor gif pixels yet, but that's okay with me! here are the pixels i recolored.

i also recolored and slightly edited these dividers, although they were not made by me! (the credits can be found through tapping them in the rentry)

I'm so good at everything aren't i <3

[targaryenrealnessdarling]

Happy follower milestone! Maybe an Ettore onesbot where reader is assistant to the doctor Dibs and maybe some kind of nurse kink???

Afflictions Of A Dark Nature

Thank you for the request! I hope this lives up to your expectations! This is my first time writing for Ettore so apologies if it seems OOC, I did try my best (I even re-watched High Life and will be sending the bill for emotional damages). Also get well soon @ewanmitchellcrumbs 😚

Warnings under the cut! Links to my Taglists: General Taglist | Ettore Taglist

Warnings: *deep breath* lots of swearing, mentions of past sexual encounters that may have not been consensual, fingering, dub-con, p in v sex, ass slapping, degradation, mentions of a blood test, male masturbation, oral (f receiving), creampie, cum eating, dacryphyilia, choking, kinda face slapping?, ass play, spitting, overstimulation | Word Count: 6.4k~ | dividers by @firefly-graphics

If he had to see that wrinkly, smug face of Dr Dibs again, Ettore would lose it.

He knew who he was. He wasn’t beyond acting out against women if he wanted to. It’s part of what put him here in the first place. Drifting through space, on some suicide mission that the oh-so-wise earthlings had decided it would be better to doom prisoners to death rather than qualified astronauts. Not like it mattered. He was on death-row anyway, so what loss really was it?

Only the loss of his complete sanity.

He knew that if he lashed out at anyone, even Dr Dibs, there’d be a punishment of sorts. In a way that was wholly unethical for someone who is supposed to provide care, but hey, who’s keeping track. Nobody gives a shit on earth. She could put arsenic in the water supply if she wanted to, and nobody could say a thing about it.

For the sake of at least living longer, though it made him dry-heave inside, he sweetened up, got more sleeping pills out of it as a result, which in this place was gold dust. A long, good-night’s sleep did little to take a person away from a situation like this, but it was at least something. A small mercy in a way.

Deep down, there was a need-no, an impulse that Ettore couldn’t shake. 

But before he could indulge in the memories of those needs, someone called his name.

“Ettore, is it?” 

Her voice was sweet, far too compassionate for someone stuck aboard working on this fucked up prison. And when she raised her eyebrows at him to elicit a response, she gave a polite smile. When was the last time someone smiled at him, truly?

She had a clipboard in front of her, disguising the lanyard around her neck and she wore blue scrubs, which looked the same design as the prisoners, but instead theirs were red.

Perhaps to show how dangerous they were. Hers was clinical and clean. Pure.

He wore suspicion on his face, marked with the furrow of his brows and without saying a word he stood and followed her into the infirmary. She was a head shorter than him which made him smirk when he was sure she wasn’t looking. 

All he knew was that he was grateful it wasn’t that wrinkly, smug bitch. He was sure she was doing something fucking weird to them. Just couldn’t put his finger on what.

When she drew the curtain, she let him in first, “Have a seat”

This cubicle was at least separate. And even though they’d not been on the ship for long, it looked crusty and old, with those wax linoleum floors, vile padded walls. It looked like it was going to fall apart. 

Ettore slumped into a chair next to a computer with a huff, taking in his surroundings, still trying to figure out what to make of this new person. Why hadn’t he seen her before? And she looked a lot younger than Dibs, was she even a real doctor or nurse at all?

Her hair was in a loose bun, fractionally more formal than Dibs who wore her braid like armour over her shoulder at all times. It made her look older, despite what Dibs would like to have believed. 

She sat down in front of the computer, typing in a few things, and he admired her face for a moment in silence. The way the light of the monitor reflected off the colour of her eyes, how her tongue darted out to lick her lips when she was trying to read something and how fast her fingers typed on the old, beige keyboard that was far too loud for his liking. Sounded like a clock was ticking in his brain.

He didn’t say a word. As was Ettore’s way. He was usually never one to speak first. He was an observer, seeking out the weaknesses of people as if he could simply by looking, like he could extract a little piece of them the longer he did. For her though, he couldn’t make her out.

When Ettore craned his head slowly to look, he could see she was reading his medical history and it made him feel special to know that she was finding out everything she could about him. He wished he could do the same to her. Find out all her little secrets.

“Just some general things and blood work today, nothing fancy” she says, meeting his eyes for a moment with another polite smile, the kind of smile where she’s clearly just trying to be nice, but Ettore can’t help the deep ache in his core to have a woman in front of him now, after years of not touching one. The Box was fine, sure, but there was no other feeling like a woman. Their warm, fleshy insides, each ridge within different from woman to woman.

Something knocked on the door in his mind. A sinful thought had arrived and asked how would she feel? Did she use the Box as well? Who did she think of when she touched herself?

“Roll up your sleeve for me” she instructs, holding the blood pressure monitor in her hands and tearing the velcro away. 

She meets his eyes again briefly to find him already looking at her when she leans forward to wrap it around his bicep, right over where his tattoo is. She has small, soft hands, indicative of her work. How would they feel on him, wrapped around his cock? Would her hands even surround him? That was all he could think about as she patted the cuff in place, brushing against his shoulder.

The machine whirred to life and it squeezed his arm, at the end bordering on pain which made him wince. She busied herself with typing on her computer in the meantime, the lanyard around her neck now visible, showing her name.

Got you.

When the machine beeped, she looked at the screen and put the results into his record, wheeling her chair to him again to take it off. He felt his cock get hard beneath his scrubs not just at the feel of her hands on him again, but now because of her proximity. He assumed everyone used the same soap here, she was no exception. But it smelled different on her and he inhaled a deep, long breath to commit as much of it to memory as he could.

She looked surprised when he spoke, as if she hadn’t expected him to.

“Why haven’t I seen you around”

It was hardly a questioning tone, more like an accusation. But she didn’t flinch away at it, rather, she was used to it.

She gave another polite smile, “Oh well, I’m usually in here, running all the tests Dibs gives me” she explains, getting her additional tools ready for the blood test, “But she wanted more help with ‘menial’ tasks like this, is how she put it” she says with a short, quiet huff of a laugh, like she thinks the reasoning was poor.

“So now you’re doing poor sod’s blood tests?” 

She nodded, “Something like that” 

Her tools were lined up, a tourniquet, a syringe and some cotton swabs. She pulled a pair of blue gloves on and moved her chair closer to him. 

“So you’re gonna poke at me?” he asks, half-amused, like he’s testing her.

She cleans the area around his arm with alcohol, a puff of air coming out her nose in a quiet laugh, tightening the tourniquet on him “Just seeing if you have good veins” she says, running her thumb over the pale skin of his arm, clearly finding a vein she was happy with.

Dr Dibs always missed his vein at least once, and he’d clench his fist as the needle went in. He wasn’t into drugs, like a lot of other prisoners here, so he wasn’t used to the prickly feeling. He found pleasure in other ways he deemed fit.

“Just a scratch” she mutters, inserting the needle beneath his skin, smiling to herself when blood goes into the bottle. First time. 

Ettore watched the vial fill with rich, thick blood, and then watched her, “You seem a bit young to be a doctor”

"Technically I'm a Junior Doctor" she replies, concentrating on his blood flow before meeting his eyes again. She seems to look at him deeply, her pupils flirting across his face now that they're so close to each other. He hears every little breath, every movement of her throat as she swallows thick, like she's nervous. And everytime her tongue darts out to wet her lips, he stares at the pinkness of it, thinking of how it would feel.

"Should I be trusting you to give me a blood test?" He teases with a wolfish grin, trying to see just how far he can push his luck.

"Hm, I don't suppose you have much choice" her smile turns a bit devilish at his quip, which quite honestly, the turn of her lips makes him want to bend her over the desk and fuck her right then and there. Wants to see what kind of sweet sounds she might make. Even the thought of it makes his cock ache.

“Suppose not”

"I'm allowed to give you blood tests" she says with a teasing smile, pulling the needle from his arm and replacing it with a cotton swab, "Hold that there for me" 

He obeys, holding it with his thumb firmly, smirking at the banter he didn't expect to have. The fact that she doesn't visibly seem afraid of him only spurs him on more. Thinking how far can he really go to make her feel uncomfortable. To make her realise just how dangerous he is, what he could do to her.

If anything he's shocked at his own restraint that he's managed this long without touching her. Such a small little thing. She wouldn’t stand a chance against him if he put his mind to it. And in those cute little scrubs as well, she doesn’t have a clue what she’s doing to him. How easy would it be to just rip right through them, to see if she was wearing anything underneath. He imagined she wasn’t, and that he’d rip them open to be greeted with her bare, soft skin, how plush and feminine her tits would be, filling his palm. He wants to squeeze them painfully, make her whine out like a slut.

His body is getting hot, blood thrumming with want.

Once the cotton swab is secured to his arm with adhesive, he can’t take his eyes off her, challenging her to meet his gaze to see what she would do.

“Why are you here?” he asks, intrigued. She doesn’t look a bit like a criminal. But he could be surprised by her and he has a feeling he will.

“That’s a personal question” she states, not losing the lazy smirk on her face at the fact he’s clearly so interested in her, “why are you here?”

“Alright, point taken”

She doesn’t prod for more information.

Holding out a clear tub to him, “You know what to do right?” she asks, clearly holding back a wider smile.

Cheeky bitch.

He snatches it from her grasp with a grin, “Now?”

Her eyebrow twitches in amusement.

“However long it takes”

A jolt goes through his body, as if a light had just come on inside. Oh, so that’s how it’s going to be.

Fucking cock tease.

He gave her a look before drawing the curtain in the cubicle, barely a few feet from where she sat. So close that he could hear her typing on her computer, hear her quiet sighs. What sweet noises would she make with his cock prodding her soft, tight insides.

Usually when he did sperm samples for Dibs, he took no enjoyment from the idea that she was essentially in the same room as him, not that it took him any less time to cum, she was still a woman and that meant something. As repulsive as she seemed. 

But when he took himself in his fist and stroked himself to hardness, teased himself with eyes softly falling shut, he imagined they were her hands. Everytime he squeezed from base to tip, reaching down with the other hand to cup his balls, wondering what her tongue would feel like dragging over every inch of him. Would she tease him? Lick his angry red tip only slightly, and that sensitive spot underneath, flattening her wet muscle over it slowly, allowing him to feel every warm and minute movement.

Without even really realising, his hand was guiding himself faster, desperate to feel the friction of her pussy choking him. Would she buck her hips to meet his desperate thrusts, or squirm away as he bullied the end of her, pushing against her cervix recklessly. He wanted her to be a good girl, and just take what he gave her. If he started, would he really truly be able to stop?

He struggled to hold in the shuddered breaths and he very nearly forgot to put the tub in front of him before finishing. A pleasant roll of warmth ran through his body, one that quickly turned into a dark, deep desire. His hand wasn't enough. He hadn’t touched a woman in so long. He wanted the real thing and she was right there. Dirty bitch was probably already wet thinking about what he was doing.

Slipping through the curtain he handed it out to her and she took it with an amused raise of her eyebrows.

“That was quick” she quipped, putting a lid on it and writing his name for the label.

Oh she’s going to get it, dirty fucking mouth.

He couldn’t hold off the sort of accomplished grin on his face, she was more fun than he thought. For a moment, he allowed himself to just simply observe her, wondering what other fun they could have.

He was growing impatient at not being able to act on those thoughts. 

“Is that it?” he asks, making her look up again.

“Unless you have any other…ailments?” Ettore doesn’t miss the way she suppresses a grin by biting the inside of her cheek. He doesn’t suppress his and feels impossibly hard once again seeing her dainty lips curl up just slightly. She must be able to see beneath the thin fabric of his scrubs, how much he wants her. Let her see, he thinks, make her squirm a bit.

He watches the way her eyes briefly run over him. It was so quick, that had he not been looking right at her, he would have missed it. She swallows, feeling like he caught her and turns away a bit, trying to hide the warm feeling that settles between her legs at the way he’s looking at her, exciting and yet dangerous at the same time.

She only hopes he doesn’t notice the way she’s squeezed her thighs together. 

“Smashing then, cheers doc” he smirks, sauntering off with a certain swagger about him, knowing that his sweet, innocent looking little doctor is all worked up. He looks over his shoulder before leaving.

The ache of the blood test is completely forgotten. Instead, all his blood is below his waist, with none left for his brain to function. It’s been a while since a woman last did this to him. Yeah he’d fucked plenty of women, some had even wanted it. But he wanted her to want it. Wanted the little slut to beg for it. To beg him to stuff her full of his cock.

That was new, he thought. But it didn’t deter him from trying to get near her when she was alone, for any chance he could get at having her all to himself. 

Annoyingly, he didn’t find the opportunity for quite some time.

Anytime he stalked past her office, there was always some other prisoner inside, having their own tests. A flash of something akin to a dark jealousy courses through his veins, his hands forming fists whenever he hears her talking in a hushed voice to another male prisoner, speaking in that way that only a doctor does.

It’s short lived, when he realises she doesn’t speak as sweetly to them as she does to him.

It feels like he’s had a hard-on for days, just merely thinking about being alone with her. It’s beginning to become painful just how much he wants it, to make her squirm for him, to make her cry. His use of the Box has increased dramatically, but the more he does it, the less the effect. His hand doesn’t do it for him anymore. He can’t replicate that tightness only a woman's cunt could give, the feeling of being sucked so desperately inside someone, being milked for all he’s worth. He dreams of it. She would take it all, he thinks, she’d be a good little slut and take it.

He thinks that if he goes there often enough, he might just run into her, drag her inside, or to a nearby hallway, or even tackle her to the floor if need be and shove himself so deep in her she won’t be able to hold back her wanton moans. He imagines holding her arms behind her back so she can’t move, brutally fucking her so hard that her hips will be bruised. 

He’s always liked walking around in the dark, even though he knows he’s not really allowed.

Tonight though, it rewards him.

A soft light emanates from her office and when he leans against the doorway to peek inside, he emits a quiet laugh through his nose, hands in pockets, just watching her.

Her hair is free of the loose bun she wore before and it trails down her back as she’s sat in her chair, leaning over a microscope. She’s so engrossed in what she’s doing and recording notes that his presence doesn’t even disturb her.

He didn’t even think about announcing his presence. He wanted her genuine reaction.

So he didn’t think twice about stalking up behind her and grabbing a fistful of her hair, yanking her back. Only a quiet gasp escaped before he slammed his palm over her mouth, muffling a surprised cry.

“Shut the fuck up” he warned with a low voice.

She froze at his words, eyes wide and breathing heavily, not even having to wonder who it was. His fingers curled painfully against her scalp, tugging her up so her back is to him. Ettore can feel her hurried breaths out her nose hitting his hand.

“Be quiet and I’ll play nice” he says against the shell of her ear, making her body shudder, drawing his hand away from her mouth.

“What the hell are you doing?” she whispers accusingly behind her as he pushes the front of her body close to the desk, the edge biting into the front of her legs. His hands run down the sides of her, sucking in the fabric to the shape of her body, growling low at finally being able to see her form underneath.

“I came to see you” he grins,

“Fucking liar”

There was something exciting about being called out like that, and about her saying such vulgar words. As sweet as she looked, he knew there was something deep inside, somewhere he wanted to prod and poke at.

“It’s your own fucking fault” he snarls, pushing his hardness against the softness of her ass. He feels her freeze up for a moment, as if she’s just putting the pieces together, “prancing about in your slutty fucking doctor’s outfit”

One hand dips beneath the hem of her scrubs, a warm sigh expelled from his chest at the softness of her stomach beneath it, trailing higher over her ribs. He can almost feel her pounding heart from here, and it does nothing to deter him, the smirk on his face evidence of that. His large palm tugs at one of her clothed breasts, slightly annoyed to see that she’s wearing a bra underneath, but he squeezes it all the same, relishing in the pained whine she lets out in response to it.

His other hand tugs her forearm almost painfully behind her, twisting it in his grip harshly. He fully knew how strong he was compared to her and couldn’t have her doing anything rash. Best to keep her hands where he can see them.

“I was just trying to be nice” she counters with a harshness to her voice, not being able to take the breathiness out of it,  “Damn sight better than what most of you deserve” she briefly struggles in his hold, that is until he tightens the clamp on her wrist. A warning.

“Careful” he warns low in her ear, “I don’t think you understand the situation right now”

“You need to get off me. Now” she tries to push her hips away from him, but at her blatant refusal, he only pushes himself closer to her, moaning softly at the friction against him and the warmth of her even with her scrubs separating them.

He resists the urge to outright laugh, and scoffs instead, “You are in no position to make demands to me. I see right through you…you want me”

She only grunts painfully in response, half-trying to tear her hand away. Not trusting herself to say anything. Ettore almost wants to laugh at how pathetically she’s trying to avoid showing how she really feels.

“How long has it been, hm?” he says, more like a growl than anything, as his hand dips beneath the waistband of her scrubs, “Since someone touched you here”

She doesn’t reply, half fighting and half giving in. But then his hand cups her clothed sex, only covered by her thin underwear and she feels his large palm rub against her, her clit throbbing with desire at not having been touched in so long. God it had been so long. His fingers tease her entrance, rubbing in circles, coaxing some slick from her.

“A while, huh?” he smirks.

“Stop it, we’ll get in trouble” she says, but it comes out a whisper, not able to hide the way his hand against her most intimate area is having such an effect on her. The heel of his palm rubs against her bundle of nerves, making her blood feel like fire in her veins, arousal pooling in her belly.

“You think I give a fuck?” he retorts, grinning, “I would have a thousand punishments if I meant I could shove my cock in your tight little hole”

“You wouldn’t”

He does laugh at that, “You wanna bet?”

Her body briefly goes rigid, trying to hold back a genuine moan when his hand dips past her underwear, and Ettore groans at the feeling of her warm, wet pussy, coating his fingers with her slick. Her eyes break closed, mouth taut into a thin line to hold in her whine, body slightly trembling at how hard she is trying to hold back.

“You talk all this shit and you’re fucking soaked for me” he grins against her ear, “is this what was under that uniform…while you were prodding and poking me?”

She gasps, her lips opening in a hurried breath as his digit sinks into her, teasing her soft, spongy walls with the calloused pads of his fingertips. She doesn’t answer him. Can’t. She can just feel herself getting warmer. It’s undeniable, the effect he has on her. And she’s not sure if she’d be wise to submit to it. 

But it’s getting harder and harder by the second not to.

“Oh, you’re filthy” he says, inserting another finger, stretching her pussy with them, softly but harshly pushing inside “getting off on taking my blood, fucking slut”

At both his words and motions, she lets out a soft and quiet moan, a pressure inside her building the more she feels his fingers caressing her warm, wet walls.

Ettore tugs down his sweatpants, freeing his cock which sits hot and heavy against the curve of her ass, the tip flushed and stood to attention against his stomach. He gives himself a few pumps, pushing forward to let her feel him. He doesn’t even bother to begin the tryst with kissing. He’s not like that.

It’s much too soft and intimate a gesture, compared to what he plans to do with her.

She turns her head, now just quietly moaning at the pleasure his fingers give her, eyes half open and a hedonistic expression on her face. She sees him pull his shirt up his chest, and then looks down, to see what exactly is pushing hard against her backside.

Before she has any time to react, his hand is curled around her nape, pushing her head flush against the table in front of her, sending the samples scattering to the floor. 

"Stop it!" She protests, trying to wiggle helplessly out his grasp, "I'll scream"

She sees him smirk, looking down at her with a half lidded lust filled gaze.

"Do it then, makes it more interesting" he shows his teeth, tugging down her scrubs song with her underwear. Now with her body flush against the table and stuck, both his hands knead the globes of her ass, his fingers leaving pink marks in their wake. He takes fistfuls, spreading them to have a proper look at her glistening pussy, just waiting for him. She whimpers at the pleasured pain it emits when his fingers hold her apart, only to turn into a surprised gasp as he kicks her ankles apart.

“Someone could walk in!” she whisper-shouts, holding her hand to her mouth to muffle any sounds when he runs the tip of his cock over her soaked folds, slapping it against her clit and smiling at her reaction.

“Let them watch then, they can see how much of a mess I’ll make of you” he purrs leaning down to press his chest against her back, “None of that either” he pulls her hand from her mouth, “I want to hear how desperate you are for me”

With her cheek flush against the table, she had to only move her eyes to look at him. Glazed over with the pupil blown wide, it betrays just how much she may or may not want it, she still doesn’t want to show him. She’s almost annoyed at his cockiness, until she feels just how big he is, teasing her ever so slightly at her entrance.

“Now let’s see what pretty noises you can make for me, hm?”

He pushes against her, parting her folds, pulling her hips towards him to sink as much inside her as he can. His heart beats faster as he feels her pussy choke him tightly, every single ridge feels like fucking magic against his cock, he feels like just finishing inside her right there. She chokes a moan, his curved member rubbing up inside her at all the right angles the further inside he goes, until he kisses the end of her with the tip, reaching places she could never with her own fingers in the Box. Her back arches slightly as he bottoms out inside her, his fingers so tight on her hips they will definitely be bruised tomorrow.

He doesn’t give her time to adjust, not even a second, as he pulls all the way out, his length covered in her slick and slams back inside with a wet smack, watching how the flesh of her ass ripples when his hips meet it.

“Oh you’re bad…” he purrs, setting a brutally quick pace. Her eyes softly shut, her front rubbing almost painfully against the stainless steel table with each hard thrust.

“Gonna have you on every fucking flat surface in this ship” he breathes, his voice hurried from the effort and how she tightens around him at his words, “you’d like that wouldn’t you….everyone watching how much of a slut you are”

She yelps out in a pained moan when he slaps her ass, gripping it after to emphasise the burn, “Answer me”

“Yes-yes…” she manages through hurried breaths, trying to control her volume but rapidly failing.

Every time he fucks into, the sheer thickness of him pushes the air out of her lungs every time, her walls stretching against him to accommodate. Ettore smirks down at the view. She lets out between a sob and a moan when she feels his spit on her puckered hole, his thumb rubbing circles against it and spreading his saliva over her sensitive skin.

It feels so right and wrong at the same time. And when he pushes a thumb inside, only making her feel more full than she already does, she can't help but buck her ass against him, wanting more friction, pleasured tears falling down her cheeks. It really had been a while since she last had sex, obviously. But nobody had been this forward and rough with her before.

“See? I know you like this…knew you wanted to fuck me the second you saw me” he mocks, giving one hard, deep thrust inside which has her squirming against him with a desperate whine, his thumb sank all the way inside her ass, the movement of their fucking aiding in stimulating that as well.

He thinks, one day he'll claim that hole of hers as well.

But not today.

He pulls out quickly and instantly tugs at her hair, turning her over so that he can see her face. She’s sat weakly up on the counter, thighs held apart for him by one of his hands. Poor thing looks tired out, he thinks, looking at her watery eyes and flushed cheeks, her head lolling back against the counters with a thud.

“Are you fucking crying?” he grins, softly slapping her cheek and grabbing her face so she looks at him, “really has been a while, huh? That’s a bit pathetic”

He practically rips the shirt off her, not even bothering to take the bra underneath off and just tugs it to the side, freeing her breasts. He groans at the sight, perky, rosy and stood to attention in the now hot office, smelling of pure, unadulterated sex. They fill his palms perfectly, and he tugs at them with his fingers, revelling in the low, chesty mewl she lets out.

It’s no effort at all the way his cock just slides into her again, slowly. Too slowly.

She feels the curve of his cock, different in this new position, every vein and ridge. His thickness splits her open until he hits the end of her, pounding mercilessly into her, making the cupboards jolt in place with each snap of his hips against her thighs, which he is keeping in his palms wide apart. Ettore grins down, watching at the way his cock disappears into her over and over, at the ripple of her soft, soft skin each time.

She arches her back against him, warm, pleasured tears pricking at her eyes the closer she gets to that tight, hot pressure in her tummy bursting. He laughs as she clenches noticeably around him,

“What is it, hm?” he sneers, “or have I fucked you stupid?”

Her moans are so desperate she really does look pathetic, “fuck…I’m gonna-”

“You gonna cum for me?” he taunts with a wide smirk, all of this just doing wonders for his ego, “now, why would I let you do that?”

“...ne-need it…”

He never lets up his pace as once hand curls into her neck, tugging her forward so that her eyes are solely on him. She moans softly at the rough action.

Pathetic.

“You gonna be a good girl and be quiet?”

She nods as best she can, his hand tightening only slightly around her neck, trying to will her voice to come out between the deafening smacks of their fucking.

“Yes..”

“Say please, then”

“Please-I need it” she begs in a horse voice.

He shoves her back roughly, smacking her head against the cupboards, watching her tits as they bounce. Truthfully, he can feel himself getting close as well, but more than anything he wants to watch her come undone on his cock. Show her just how much fun she could have with him if she just let herself.

Her cheeks are pink and her chest is dotted with warmth as the air in the office is hot and thick, even more so at the pleasurable lack of oxygen his hand around her neck gives. It makes it harder for those strained moans to pass her lips.

Every drag through her hot, ridged core sends sparks of pleasure through him, crawling up his spine. 

You first.

She sucks in a breath when he lets go of her neck, allowing his thumb into her mouth. She sucks on the digit greedily, using her tongue to coat it with saliva. Ettore almost moans at just the sight of her.

He'll have that mouth too, he thinks.

A string breaks between her mouth and her thumb as he presses it suddenly against her clit, hard. She gasps at the painful pleasure of his rough actions, swirling his thumb over her bud to bring her to that precipice first.

Her hands grip his shoulders, but he quickly tears them off him, "I didn't say you could touch me" he snarls in between devastating thrusts, drawing figures of eight on her clit and watching as she squirms.

Her hands brace the counter either side of her legs, needing something to hold onto, "...m sorry…"

"You will be fucking sorry. Stupid bitch" 

If it's possible, he moves himself into her faster, bullying that rough patch inside her with such severity that her eyebrows furrow together, her mouth open in a silent scream. She contracts around him at the combined pleasure of his cock and his stimulation to her bud, knuckles going white at her grip on the counter.

"Such a perfect pussy…never fucking using that Box again…not when I have this…" he breathes pressing his body against hers so they are flush, his nose running up the side of her neck.

"Ettore, please…"

It's not really a request, just something that passes her lips. And he knows the second he feels her clench so tightly that she's done for, when her back arches towards him and her body goes rigid for a split second.

Her teeth sink into his skin at his shoulder, muffling the scream of pleasure that threatens to escape. He knows that will be there for days and it will most definitely hurt in the morning.

A gush of arousal soaks his cock and he continues to pound into her through it, pressing his thumb into her clit, extending her little death into a devastating abyss of warmth and rapture. Her walls quiver with overstimulation around him, and he can feel the wetness of her tears on his shoulder, her desperate whines.

"Fuck-shit" Ettore pushes inside once more, hard, with a barely stifled groan, huffing a pleasured laugh at the feeling of stuffing her with his cum and the warmth that surrounds him.

He wants to stay like that forever, keeping his cum inside her with his cock. Her thighs shake slightly, and he delights in the fact that she might not be able to walk afterwards. To remind her who she belongs to, now that he's claimed her.

He calms his hurried breathing just enough to pull his rapidly softening cock from her, earning a low whine from her once she pulls her teeth from him. Her tits move slowly with her breathing, thighs still shaking ever so slightly and parted to give him a good view of the mess he's made of her.

Her arousal combined with the cum that's leaking out of her activates a primal part of his brain and he's tempted to fuck her brains out again, but knows he wouldn't be able to.

Another time.

"Look at my filthy little doctor" 

He pulls her thighs close to him, teetering on the edge of the table, and all she's able to do is make a sound of surprise, eyes widening as he sinks to his knees between her legs.

"No-no, Ettore-" she protests quickly. Her hands going back to bracing the counter tightly when she feels his warm, wet muscle lapping against her soaked folds, a combination of her climax and his swirling over his tongue with such lewdness it makes her flush bright red.

After such a recent and all-consuming orgasm, she flinches when his tongue swirls over her clit, the vibrations of his low moans against it feels much too overwhelming now.

"Please-too much-"

He runs his tongue flat over her core, groaning at the combined taste of them and lapping up whatever leaks out of her. He could spend fucking days between her legs if she tastes like this all the time. Her arousal is so sweet and tart, musky when combined with his. Mixed with his cum, he thinks, she's made to be fucked by him. Made to be filled.

Fucking her with his tongue through her fluttering walls, her hand cards through his hair, tugging. To push him away or to bring him closer, she's torn between the two. The warmth of his mouth against her is just too tempting to want him to stop and when he moves his face side to side, his sharp nose nuzzling against her already over-used clit…

"Fuck! Please-"

The orgasm that rocks through her body blazes every nerve in its path, all the way down to the way his tongue is still lapping and sucking her juices, as if she's the best thing he's tasted since boarding this hellscape of a ship. He takes every bit of essence, sighing and moaning, with a grip so iron on her thighs, she can't move even if she wanted to.

Ettore rises to his feet, giving one more flattened lap over her core, sucking at her clit, which makes her twitch. Her glazed over, wettened eyes meet his, the blue almost entirely encompassed by black. He looks like an animal who's just tasted blood again after a long time of being caged. She doesn't entirely know why, but it makes her throb with desire, and it frightens even her to know that such a dangerous man, a criminal no less, is making her feel this way.

It makes her think, is she any better for enjoying it as much as she did.

He looks down at her, almost entirely bared to him, his reddened marks blossoming over her skin in early bruises. Her fucked-out face, a mix of lust and confusion, with that tell-tale pink to her cheeks.

A dangerous grin widens across his face.

"I meant it you know…" he says, dark and low, "...I'm not using that fucking Box ever again"

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