#Hannah understands subjectivity and perspective

[weltonlasso]

the amount of care between Hannah’s: the beautiful thing is I can see this as one of many things for Rebecca. Is this strange man and his daughter forever? We don’t know…Maybe?

And Brendan’s narcissistic, condescending platitudes: Never with enthusiasm. No connection. You saw what you wanted to see through years of heteronormative television.

is fucking astounding.

[dnfnoodles]

"I think watching each other and pointing out when someone is going too far is important"

full agree but genuine question, did you dm/send anon/make any contact with the blog in question and say this? because vague-ing someone is not really "pointing it out". this is not an attack on you i swear but can everyone please not do old dtblr bullshit all over again. we laughed at ccs sucking ass at communication, and now here we are. a lot of people genuinely enjoyed and trusted hannah so i get why everyone is reacting so badly, its the sense of betrayal and hurt in an already marginalized and harassed community, a lot of us female fans lost our safe space female streamers and thats gonna hurt. a lot of "obsessive criticism" supposedly going around is mainly people trying to come to terms with what happened but not having the correct tools to deal with it, and thats why we need each others help. simple fact remains: hannah fucked up and her fans are gonna need some time to deal with that in a productive manner, this will cause friction until everyone can talk it out and come to a personal conclusion. both types of her fans are valid here: those that no longer feel safe to support her (permanently or only until further info is given) and those that will continue to support her so that they could see her as of this moment hypothetical growth

its gonna be rocky for a bit but i dont think screaming misogyny at everyone calling her out is the solution to this, especially because male ccs have been treated way worse over way less in this specific sphere, so no, thats not really a good marker for how serious something is. she is under scrutiny right now but its not focused on her personal gender (again, multiple male ccs were ripped to shreds over less) but because she has put herself as the face and as an activist for female streamers and as such her actions dont only concern her, thats the sad fact every activist has to deal with sooner or later - you are no longer only an individual, you are now a representative of your cause and must act as such. she made a mistake, thats only human, but because of her position (not her gender) she is now in hot water. she would not be in this situation if she was just a regular streamer that happened to be female (look at puffy and sylv too, they are either rightfully not being criticised at all or just needed to clarify some details and most people understood why they reacted like that or at least could emphatize)

hope i made sense, disclaimer this is just my current perspective as a longtime female fan of them after i saw everything go down in real time. my opinion is subjective to change if we get more info

Like I said I’m not good with approaching someone directly so I sent a polite anon. and yeah I totally understand you and I think it’s all valid :)

[mackenzee]

“Who Has Authority Over Me?” – A Review of Transgender and Gender Diverse Subject Access

Project Description – This project intended for us to engage with a significant topic related to the field of knowledge organization. It included group and independent work which allowed for multiple perspectives within our overarching topic to be thoroughly explored. Submission materials consisted of an individual essay detailing our specific research interest, a conference-style presentation involving all group members, a conference-style poster summarizing our presentation, a joint bibliography, and two select readings which we shared with the class. Our group chose to present on Archival Silences, discussing how dominant classification practices actively erase marginalized narratives. This topic was then broken down into three parts; Sacred Silence, Institutional Silence, and Communal Silence.   

Methods – As a group, we worked together to establish a topic which included all of our specific research interests. We then had to submit a proposal which explained what our topic was – Archival Silences – and how each of our specific interests colluded to support that topic. I composed the independent portion of this project by conducting a broad literature review within the study of critical cataloging and gender diverse subject access. I was predominantly inspired by the ethical concerns of what it means to “queer the catalog,” as addressed by scholars like Emily Drabinski and K. R. Roberto. I analyzed the social and cultural implications of gender identity as presented in majority lead cataloging practices against this contemporaneous discourse. While working on our individual papers, our team met weekly to discuss presentation and poster materials for the purpose of creating a cohesive final project.     My Role – I am the sole creator of this paper; however, the final presentation on archival silences was a collaborative project completed with classmates Maia Hirschler and Hannah Rothfield. We collectively proposed our overarching research topic, and divided workload based on special interest within said topic. I created slides for and presented on silences present in current cataloging practices for transgender and gender diverse materials.

Read my paper here | View our presentation here

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Learning Outcome Achieved – Ethical/ Creative/ Critical Practice Rationale – Our project engages with critical cataloging discourse through an understanding that information is non neutral and often produced to reflect / reinforce structures of oppression. My research practice was informed by transgender theory and analyzed contemporary classification standards for transgender and gender diverse collections. I sought to immerse myself into the conversation around how the Library of Congress assumes a position of authority which homogenizes and silences diverse user groups. I also reviewed reformist efforts, assessing how their attempts towards descriptive social justice still relies on western centric conceptions of gender nonconformity. Ultimately, I hoped to present an argument for the destandardization and reconstruction of identity driven description. A truly critical practice requires an ever expanding and evolving dialogue.

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[benlopezra]

Exploring the top picks of 2024, as selected by Amazon’s book editors—featuring compelling narratives, unforgettable characters, and stories that will stay with you long after you’ve turned the last page.

Exploring the top picks of 2024, as selected by Amazon’s book editors—featuring compelling narratives, unforgettable characters, and stories that will stay with you long after you’ve turned the last page.

Introduction

Continuing with this series of posts where I review, recommend, and share relevant books that will help you expand your horizons across multiple subjects, I’m excited to share with you this list of 10 book recommendations. Recently, the Amazon Books Editors published a curated list of the top 10 books that truly stand out, each offering something unique. From thought-provoking retellings to heart-pounding thrillers, these books cover a wide range of genres and styles, ensuring there’s something for every reader. Join me as we explore these remarkable works and uncover why they are considered the best of 2024 so far.

Skill Readers Level

Intermediate to Advanced.

1.

James by Percival Everett

Genre: Literary Fiction James by Percival Everett: A powerful retelling of a classic American story through the eyes of Jim.

Overview: Percival Everett’s James stands out as the top pick of 2024, offering a fresh and thought-provoking retelling of The Adventures of Huckleberry Finn from the perspective of Jim, the enslaved man at the heart of Mark Twain’s classic. Everett masterfully brings Jim’s voice to the forefront, weaving a tale that is both poignant and darkly humorous. As Jim navigates his escape from enslavement and an unlikely partnership with Huck, readers are treated to a richly layered narrative that delves into themes of freedom, identity, and resilience.

Why You Should Read It: James is not just a retelling but a reinvention of a classic story, providing new insights and perspectives on well-known characters. Everett’s sharp wit and deep understanding of human nature make this novel a must-read for anyone interested in American literature, social justice, or simply a compelling story.

Learn more about James

2.

The Women by Kristin Hannah

Genre: Historical Fiction The Women by Kristin Hannah: A moving tribute to the unsung heroes of the Vietnam War.

Overview: Kristin Hannah, known for her emotionally charged novels, brings to life the untold stories of combat nurses during the Vietnam War in The Women. The novel follows Frances “Frankie” McGrath, a young woman from a prestigious military family, as she volunteers as a nurse in Vietnam. Hannah captures the harsh realities these women faced, both on the battlefield and upon returning home, where their sacrifices were often overlooked or dismissed.

Why You Should Read It: The Women is a powerful tribute to the unsung heroes of war, shedding light on the courage and resilience of women who served in one of the most tumultuous periods in history. Hannah’s ability to evoke deep emotions and create complex characters makes this novel a deeply moving and unforgettable read.

Learn more about The Women

3.

All the Worst Humans by Phil Elwood

Genre: Nonfiction/Memoir All the Worst Humans by Phil Elwood: A shocking memoir revealing the dark side of power and politics.

Overview: Phil Elwood’s All the Worst Humans offers a behind-the-scenes look at the dark underbelly of power, politics, and wealth. This memoir reads like a thriller, with Elwood recounting his years as a PR hitman for some of the world’s most controversial figures. From manipulating media narratives to orchestrating elaborate schemes, Elwood’s stories are both shocking and compelling.

Why You Should Read It: This book is a must-read for anyone fascinated by the intersection of power and morality. Elwood’s candid account provides a rare glimpse into the machinations that shape global events, making it a thought-provoking read that will leave you questioning the integrity of those in power.

Learn more about All the Worst Humans

4.

The Ministry of Time by Kaliane Bradley

Genre: Science Fiction/Time Travel The Ministry of Time by Kaliane Bradley: A genre-bending novel exploring time travel, espionage, and love.

Overview: Kaliane Bradley’s debut novel, The Ministry of Time, is a genre-defying masterpiece that blends time travel, espionage, and romance into a thrilling narrative. Set in a near-future London, the story follows Graham Gore, a 19th-century Arctic explorer brought into the present by a secret government agency. As Gore adjusts to modern life with the help of his “bridge,” readers are taken on a journey that explores the complexities of time, love, and human connection.

Why You Should Read It: Bradley’s novel is a unique and imaginative exploration of how the past and present can collide in unexpected ways. With its blend of historical fiction, science fiction, and romance, The Ministry of Time is a captivating read that will appeal to a wide range of readers.

Learn more about The Ministry of Time

5.

Martyr! by Kaveh Akbar

Genre: Literary Fiction Martyr! by Kaveh Akbar: A debut novel that blends humor and depth in exploring identity and meaning.

Overview: Poet Kaveh Akbar makes his fiction debut with Martyr!, a humorous and somber novel. The story follows Cyrus Shams, a young Iranian-American man grappling with his identity and the meaning of life. As Cyrus embarks on a journey of self-discovery in New York City, Akbar’s lyrical prose and sharp wit shine through, making this a standout debut.

Why You Should Read It: Martyr!, is a novel that combines the poetic sensibilities of its author with a compelling narrative that explores the complexities of cultural identity and personal growth. Akbar’s unique voice and perspective make this a must-read for fans of literary fiction.

Learn more about Martyr!

6.

Nuclear War by Annie Jacobsen

Genre: Nonfiction Nuclear War by Annie Jacobsen: A chilling nonfiction account of a hypothetical nuclear scenario.

Overview: Annie Jacobsen’s Nuclear War is a terrifyingly real account of a hypothetical nuclear attack on the United States by North Korea. Drawing on classified documents and interviews, Jacobsen provides a minute-by-minute breakdown of what could happen in such a scenario, blending history, science, and politics into a gripping narrative.

Why You Should Read It: This book is not just a cautionary tale but a deeply researched exploration of the realities of nuclear warfare. Jacobsen’s ability to present complex information in a compelling and accessible way makes Nuclear War an essential read for anyone interested in global security and the future of warfare.

Learn more about Nuclear War

7.

All the Colors of the Dark by Chris Whitaker

Genre: Mystery/Thriller All the Colors of the Dark by Chris Whitaker: A haunting tale of friendship, loss, and mystery.

Overview: All the Colors of the Dark by Chris Whitaker is a poignant tale of friendship, loss, and the enduring power of love. The novel follows Patch and Saint, two childhood friends who are bound together by a shared trauma. As they grow up, their lives are shaped by the mysterious disappearance of a girl, leading them on a quest for answers that spans years and continents.

Why You Should Read It: Whitaker’s novel is a beautifully written exploration of the human condition, filled with moments of joy, sorrow, and profound insight. The author’s ability to create vivid characters and an immersive world makes this a novel that will stay with you long after you’ve turned the last page.

Learn more about All the Colors of the Dark

8.

Lies and Weddings by Kevin Kwan

Genre: Romance/Comedy Lies and Weddings by Kevin Kwan: A glamorous and hilarious rom-com set in exotic locales.

Overview: Kevin Kwan, the author of Crazy Rich Asians, returns with Lies and Weddings, a delightful rom-com that takes readers on a glamorous journey across the globe. Set against the backdrop of an extravagant wedding in Hawaii, the novel explores the lives of the Earl of Greshambury, his family, and their wealthy neighbor, the Tongs. As secrets are revealed and hearts are broken, Kwan weaves a tale that is both hilarious and heartfelt.

Why You Should Read It: Kwan’s Lies and Weddings is a perfect escape for anyone looking for a light-hearted yet meaningful read. With its witty dialogue, lavish settings, and engaging characters, this novel offers a fun and entertaining look at the complexities of family, love, and social status.

Learn more about Lies and Weddings

9.

Lost Man’s Lane by Scott Carson

Genre: Supernatural Thriller Lost Man’s Lane by Scott Carson: A supernatural thriller blending horror, mystery, and coming-of-age.

Overview: Scott Carson’s Lost Man’s Lane is a supernatural thriller that blends elements of horror, mystery, and coming-of-age. The story follows Marshall Miller, a teenage boy who becomes entangled in a series of strange events in his small town. As the supernatural forces at play become more apparent, Marshall must confront his deepest fears and uncover the truth behind the disappearances of several local girls.

Why You Should Read It: Carson’s writing is both evocative and suspenseful, making Lost Man’s Lane a gripping read from start to finish. Fans of supernatural thrillers and coming-of-age stories will find much to enjoy in this well-crafted novel.

Learn more about Lost Man’s Lane

10.

This Could Be Us by Kennedy Ryan

Genre: Contemporary Fiction This Could Be Us by Kennedy Ryan: A deeply emotional novel about love, loss, and self-discovery.

Overview: This Could Be Us by Kennedy Ryan is a deeply emotional exploration of love, loss, and self-discovery. The novel follows Soledad as she navigates the challenges of divorce, raising children, and finding herself again. Ryan’s writing is raw and honest, capturing the complexities of relationships and the journey to self-acceptance.

Why You Should Read It: This novel is a powerful reminder of the importance of self-love and the strength it takes to rebuild one’s life after trauma. Ryan’s relatable characters and heartfelt storytelling make This Could Be Us an engaging and memorable read.

Learn more about This Could Be Us

Conclusion

As we look forward to the remaining months of 2024, the books highlighted in this post stand as a testament to the power of storytelling. Each one offers a unique perspective on life’s challenges, joys, and complexities. I can’t wait to see what the rest of the year will bring and expect these titles to remain among the best of 2024. Keep an eye out for upcoming releases that will continue to shape the literary landscape.

FAQ

1. Will there be a sequel to any of these books? While it’s too early to say for sure, several of these books, particularly The Ministry of Time and This Could Be Us, have the potential for sequels or expanded stories in the future.

2. Can I find these books in formats other than Kindle? Yes, most of these books are available in multiple formats, including hardcover, paperback, and audiobook.

3. Are these books suitable for all readers? These books are primarily aimed at intermediate to advanced readers due to their complex themes and mature content.

4. Where can I learn more about each book? I’ve included detailed descriptions, reviews, and purchase links throughout this post, all redirecting to Amazon’s official site. Simply click on each book title to go directly to its Amazon page for more information.

5. Are there any similar books you recommend? Looking for similar book recommendations? If you enjoyed these titles, I suggest checking out my Amazon influencer page, where I’ve curated a selection of classics, bestsellers, and more. Click here for more details and to explore my full list.

Learn More

For further exploration, visit my Amazon’s list of the full Best Books of 2024 So Far. Here, you’ll find additional titles and categories that cater to all reading preferences.

[nevaehkallon]

Comedy for Change

Comedy possesses a unique power to question societal norms, provoke critical thinking, and initiate discussions on important social issues. Throughout history, comedians have evolved from mere entertainers to influential figures shaping public discourse. By leveraging humor, they shed light on pressing matters, making complex topics more accessible to diverse audiences. This evolution of comedians' roles mirrors the changing landscape of humor and social consciousness. Today, comedians serve not only as entertainers but also as activists, advocating for various causes through their platforms. Their ability to navigate sensitive subjects with wit and insight renders them indispensable voices in shaping contemporary society.

The participatory nature of comedy engages individuals from diverse backgrounds, fostering a sense of shared humanity. Through laughter, people find common ground and become more receptive to differing perspectives, breaking down societal barriers. This shared experience creates an environment where complex issues can be approached with openness and understanding, facilitating meaningful dialogue and driving positive change.

Humor disarms audiences, providing a non-threatening avenue for discussing sensitive or contentious topics. Comedians employ wit and satire to tackle difficult subjects, offering a lighthearted entry point into discussions that might otherwise be met with resistance. By presenting issues through a comedic lens, they challenge preconceived notions and encourage audiences to reconsider their perspectives. This disarming effect fosters an environment of mutual respect and empathy, cultivating greater societal understanding and progress.

9 Funniest Stand-Up Comedy Sets That Are Also Eye-Opening Commentaries On Society (scoopwhoop.com)

"Comedy’s Role in Social Change"

A Laughing Matter: Comedy’s Role in Social Change | American University, Washington, D.C.

In the realm of social change, comedy serves as a potent tool for addressing entrenched issues and dismantling barriers. Professor Caty Borum Chattoo underscores the potential of comedy to reach diverse audiences and bridge societal divides through laughter. Initiatives like "The Laughter Effect" aim to explore this potential, understanding how humor contributes to social change.

Comedians play a pivotal role in delivering news coverage and providing social commentary, acting as conduits between current events and public understanding. Late-night hosts such as Stephen Colbert and Seth Meyers offer satirical interpretations of political events, dissecting complex issues with wit and insight. Trevor Noah, through "The Daily Show," infuses comedic monologues with sharp critiques of societal norms and political figures, urging audiences to engage critically with the news. Similarly, John Oliver's "Last Week Tonight" offers in-depth investigations into social and political issues, providing informative yet entertaining analyses resonating with global audiences.

Comedy for Social Change

The Revolution Will Be Hilarious: Comedy for Social Change and Civic Power by Caty Borum | Comedy for Social Change (ssir.org)

Beyond political commentary, comedians address cultural and societal issues, amplifying marginalized voices and advocating for social justice. Hasan Minhaj's "Patriot Act" explores immigration, racism, and technology, shedding light on overlooked issues with humor and empathy. Figures like Dave Chappelle and Chris Rock confront racial tensions and challenge societal perceptions through stand-up specials. Ali Wong and Hannah Gadsby offer candid reflections on gender dynamics and feminism, using humor to dissect societal expectations and empower marginalized communities.

Comedians wield significant influence as cultural commentators and catalysts for social change, challenging the status quo and providing alternative perspectives on pressing matters. Whether through late-night satire, stand-up specials, or comedy specials, they engage audiences in critical conversations, fostering empathy, understanding, and meaningful dialogue. In an era of complex challenges, comedians continue to serve as essential voices, using humor as a tool for enlightenment, empowerment, and social progress.

THE EVOLUTION OF COMEDY: A DECADE OF LAUGHTER AND TRANSFORMATION

The historical evolution of comedy reflects a continual push to challenge societal norms and provoke thought through humor. From ancient forms of satire to modern stand-up comedy, comedians have pushed boundaries and challenged norms, demonstrating the enduring power of laughter to illuminate and critique the world around us.

The history of comedy spans centuries, evolving from ancient forms of satire to modern stand-up performances. In ancient Greece, comedy intertwined with theater, with playwrights like Aristophanes using satire to critique political and social issues. During the Renaissance, comedic works by writers such as William Shakespeare blended humor with social commentary, challenging societal norms through plays like "A Midsummer Night's Dream" and "Twelfth Night."

Vaudeville and variety shows in the 19th and early 20th centuries showcased comedic acts that pushed boundaries and tackled taboo subjects. In the 20th century, comedians like Lenny Bruce and George Carlin challenged societal norms and censorship laws through their provocative stand-up routines. Bruce's confrontational style addressed issues of religion, politics, and sexuality, paving the way for future comedians to explore controversial topics.

The rise of television brought comedians like Richard Pryor and Joan Rivers into the spotlight, continuing to push boundaries with their candid and irreverent humor. Today, comedians such as Dave Chappelle, Sarah Silverman, and Hannah Gadsby challenge societal norms through their stand-up specials, addressing topics like race, gender, and sexuality with wit and insight.

Overall, the historical evolution of comedy reflects a continual push to challenge societal norms and provoke thought through humor, demonstrating the enduring power of laughter to illuminate and critique the world around us. Comedians continue to serve as essential voices, using humor as a tool for enlightenment, empowerment, and social progress in an ever-changing society.

How did Comedy develop overtime - DailyHistory.org

Comedy Evolution: A Decade of Laughter and Transformation (thestudentpocketguide.com)

Dave Chappelle, Chris Rock, and Kevin Hart are three of the most influential comedians of our time, each leaving an indelible mark on the comedy landscape and challenging societal norms in their own unique ways. Dave Chappelle is renowned for his fearless approach to taboo subjects, fearlessly tackling race, politics, and social issues. With his groundbreaking sketch comedy series "Chappelle's Show," he pushed boundaries and sparked critical conversations about race and identity in America. Chappelle's unapologetic style and keen social commentary have earned him widespread acclaim and cemented his status as a taboo-breaker in comedy.

Similarly, Chris Rock has made a name for himself as a comedic trailblazer, using his sharp wit and incisive humor to dissect cultural norms and challenge the status quo. Through his stand-up specials and television appearances, Rock fearlessly addresses topics like race relations, inequality, and politics, sparking both laughter and introspection among audiences. His ability to confront uncomfortable truths with humor has earned him accolades and solidified his reputation as a boundary-pushing comedian.

Kevin Hart, known for his infectious energy and relatable humor, has also emerged as a taboo-breaker in comedy. Through his stand-up specials and comedic performances, Hart fearlessly explores topics like family, relationships, and personal growth, offering audiences a candid and humorous perspective on life's challenges. Hart's ability to navigate sensitive subjects with charm and authenticity has endeared him to fans worldwide, making him one of the most beloved comedians of his generation. Together, Chappelle, Rock, and Hart have shattered stereotypes, challenged societal norms, and redefined the boundaries of comedy, leaving a lasting impact on the genre and inspiring future generations of comedians to follow in their footsteps.

Video Comedians using laughs to teach audience about climate change - ABC News (go.com)

[lightcreators]

@rosa-geminae

Long hours passed to annoying Phantomhive to no end hadn’t been in vain. Surely, if he would have asked, Hannah would have been inclined to teach him how to play chess correctly: how to win mostly … nevertheless, it would also indicate not leaving the hugeness of his manor and be remembered to his loneliness … It would be a constant reminder he had been an piece inside that manor since day one : from the old asshole he had been using and be far too displeasing used back, from the now-absence of an demonic butler who had played his strings all around … or even mere presence of that demonic maid at his side with awareness. If she asked her, would she bring him to Hades? If she asked her, would she been able to convincing the God of the Underground he hadn’t been flattered to perceive to giving him his metaphoric twin? If she asked her, would she been allowed to bring him to the tormenting places Claude was currently, when himself was unsure about what he desired? If he could perceive Hades, what he would ask him sincerely, beyond all previous desires? Would he want reassurance some Emperor will pay for his crimes? Would he craving for presence of another soul robbed of him?  Would he beg Hades for something else?

His metaphoric twin always had been pretty orally sharp concerning the God of the Underground. After all, he had the one deciding to have an direct talk with him (without even questioning himself if it was actually possible or if he was existing in the first place, considering as obvious with demons presences, yes, the God of the Underground was around) and comments and remembrances about him had been .. weird for his perspective. He was playing with the God of the Underground as another one of his toys, and exposed some sparks of excitation he didn’t himself quite understand --- when him, he was begging for his presence … begging for having just an smaller of same attention he was giving to the real Alois … Phantomhive had an emotional distance concerning actual existence of the God of the Underground (where he was clearly uneasy and always found a way to switch the subject) and disliked remembrances concerning his metaphoric twin, as reminder he have to become Alois. A name without the accurate behaviour was a heresy, and having a similar appearance without the appropriate expressions giving all this sentiment of horrible joke he pulled to everyone…

Sometimes he was wondering what Phantomhive was thinking when he was around him. Did he remember about how his usefulness served a long time ago only for his own survival? Did he think back on all the time he couldn’t stand by himself? Did he recall these moments when peaceful circumstances had been wasted because of his curse? At least, Phantomhive reactions had been interesting to watch, judging him wit his gaze every time he was doing for once a right move and gained some victory … though, there was an attached mistrust attached to his eyes he didn’t have been able to remove no matter how apparent bright he was looking. It wasn’t against him personally but towards the faked projection he was flattered with … Something, regardless, he didn’t stopped, even in front of Francis with an beautiful happy smile and illuminated eyes whatever how emptiness remnants might residing inside his eyes. He will cry when no gaze will be look at him, he will internally scream to Hades until he was receiving an answer who pleased him, he might allowing himself to stop maybe only when he will be a witch and feeling accurate as Alois Trancy --- maybe. ❝ I have an excellent teacher! ❞ He prided himself, associating his sentence with an enthusiasm sound. Within the walls of his own manor, distraction of paying chess seemed for once amusing this time. He wasn’t meant to becoming the sole loser of the party, neither to be part of a game in which he didn’t know the rules. Though, his perspective remained altered with a higher naivety. Everything he cared about was to win --- meanwhile his mind buried how he was sickly searching the right moves that had been previously made inside circumstances … He adored devoured Phantomhive face for that: he was facing, with a simple game, his past decisions. ❝ During too many times and too many games, I passed my entire time losing at this game … Gentle sentiment of victory is something I definitely needed~ I’m sure you shall success in one way or another inside one of our games~ ❞

[feliciagarrivan]

The Female Gaze: Exposing The Other History of Photography

This new book focuses on giving pioneering women photographers their place in the annals of the art. Words by Chloë Ashby

About two-thirds of the way through her engaging new book, Emma Lewisdescribes the subtle yet significant distinction between ‘seeing’ and ‘looking’. Photographic theory, she writes, has typically focused on the latter, which positions “making or regarding photographs as an acquisitive act, and the subject as a spectacle”. Bringing ‘seeing’ into the equation introduces a different dynamic: “It suggests that behind the act of photographing is an intention to understand and, perhaps by extension, a will to help the viewers themselves feel understood.”You could say that Photography: A Feminist History shares the same intention. Flick back to the introduction and Lewis (an assistant curator of international art at Tate Modern) acknowledges attempts to restore women’s names into the history of photography. But she asks, beyond the “genteel lady hobbyists” and the “gung-ho pioneers”, where are “the working-class women who set up studios to make ends meet” and “the ordinary folk quietly recording their communities because they knew that no one else would”?

It’s the stories of these photographers (each of whom identifies as a woman, trans or gender nonconforming) that Lewis sheds light on. The stories that didn’t make it into the traditional account of photography because they didn’t fit with the neat and tidy definition of history and progress.

Photography: A Feminist History is an account of roughly 200 years of photography told from a feminist perspective. Divided into ten chapters, it charts the landmarks in photography and women’s rights, culture and politics, as well as how they have overlapped and shaped the images photographers have taken and our interpretation of them.It would be easy for a book structured in such a way, by thematic essays and profiles, to feel choppy and rushed, but this one is nothing if not considered. From documentary photography and art as activism to the family album and social media, Lewis thoughtfully maps photographic developments and “the messy business of feminism”.

“For many of the individuals in this book, producing images was a means of understanding who they were and their place in the world”

The profiles see Lewis zoom in on 75 key practitioners. Early on we read of Bolette Berg and Marie Høeg, who ran a successful photography studio in Oslo in the early 20th century, and whose private portraits provide insight into their beliefs surrounding gender, sexuality, and conformity. Then there’s Florestine Collins, who began taking photographs in 1909 at the age of 14 to support her family and went on to open a studio from her living room (in part to avoid becoming a servant for white families and enduring long hours, poor pay and the threat of harassment).

While many chose not to emphasise their gender in their images, some forms of photography were particularly suited to tackling it, not least photomontage. Together with Lee Miller and Cindy Sherman, Hannah Höch is among the more familiar names found within the pages of the book. The Dadaists used the technique of fragmentation to critique the commodification of women’s bodies: “By depicting female bodies only in parts (a gymnast’s torso, a model’s stocking-clad legs, a mother’s arms cradling a baby) they drew attention to the multiple identities that women ‘should’ occupy as healthy, productive citizens, sex objects and nurturers.”

Each character study is accompanied by an image, and a highlight is Lucia Moholy’s portrait of her then-husband, Hungarian painter and photographer László Moholy-Nagy. The black-and-white photograph blurs out his palm, which is raised in front of the lens, and focuses on his bespectacled, smiling face, a mix of highlights and shadows.

As Lewis writes: “It is not only an illustration of how the camera can compress depth but is also, perhaps, symbolic: his gesture dismissive, pushing her away while pulling him into focus.” The work Moholy did on the couple’s photograms and texts went unacknowledged until she revealed the true nature of their collaborative relationship in Moholy-Nagy, Marginal Notes (1972).

For many of the individuals in this book, producing images was a means of understanding who they were and their place in the world. Joan E Biren, known as JEB, taught herself photography because, as Lewis writes, she had a “visceral” need to see a reflection of her reality. The first image she ever saw of two women kissing was the one she took of herself and her lover, Sharon.“I wanted to see it,” she said.

Finnish photographer Elina Brotherus’s autobiographical series Annonciation (2009-13) sets out to counter the lack of visibility around infertility, while Dutch artist Rineke Dijkstra’s frank yet tender series New Mothers (1994) shows the often-harsh realities of motherhood.

Of course, photography has its limits, and shortly after describing that subtle yet significant distinction between ‘seeing’ and ‘looking’, Lewis quotes the cultural critic and public intellectual Susan Sontag: “Life is not about significant details, illuminated in a flash, fixed forever. Photographs are.” And so, Lewis asks, how do we reconcile these limitations with the responsibilities of the photographer and the viewer towards the subject?

Like the business of feminism, the answer is sprawling and complex. But this book offers clear and cogent guidance by encouraging us to “not simply look at the photograph, or indeed its maker, but instead to try and see”.

https://elephant.art/the-female-gaze-exposing-the-other-history-of-photography-17102021/

[huanjiao]

Journal Entry 6- What Hasn’t been Discussed- Hannah

The word "visual research," as defined by the visual methodologies textbook, is the process of gathering data through the use of visual tools. Experts in the field of graphic design can benefit greatly from this type of research as they evaluate visual data to better understand the needs, requirements, and preferences of their target audience. However, designers need to be aware of the societal issues related to the use of graphical data in order to conduct research with integrity.

A significant ethical challenge in the field of eye research is obtaining participant consent. Participants must understand the purpose of the research and the possible outcomes before giving their full consent. Logo designers can benefit from using photographs, movies, and other forms of graphic data. However, they must first obtain consent from the consumers before using the data in any way. This necessitates transparency regarding the study's goals, how their data will be used, and what precautions will be taken to protect their privacy.

Another ethical challenge in vision research is maintaining the confidentiality of research subjects. All gathered data should be kept secret and secure by the makers to prevent any privacy breaches. This means developers should safeguard their customers' personal information.

Creators should have the right to legally gather the visual data they need. In order to prevent any moral dilemmas, creators shouldn't use any data that was illegally obtained. In addition, managers must ensure that the data they use is accurate and offers a true representation of users' perspectives and experiences.

The effects of the research on the participants should not be overlooked by the design team. This calls for a firm commitment to the concept that participants must not be harmed or exploited in any way. Researchers have an ethical obligation to protect the participants of their studies from unfair or derogatory treatment.

The importance of research ethics in visual media cannot be overstated in the area of graphic design. Designers should think about social considerations when conducting visual research. Before using the information gathered, they must ensure the safety of the people and their right to private. As long as they follow ethical standards, makers can create goods that benefit people. 

The Visual Communication Guy website offers a summary of visual study, picture modification, and commercial ethics as they pertain to graphic designers. It also provides access to supplementary information on design principles through connections.

https://thevisualcommunicationguy.com/

The Ethics for Designers Toolkit website covers all aspects of responsible design, from graphic design ethics to the ethics of user study and ethical data representation. There are also instances of ethical design in action and case studies.

https://ethicsfordesigners.com/

Picture Source: https://www.uxtesting.io/blog/76/ethical-design-everything-you-need-to-know

[chainofclovers]

Ted Lasso 2x10 thoughts

GOOD GOD.

“No Weddings and a Funeral” is like being hungover but also coming out of a hangover. Having a terrible cold but also feeling better and appreciating every breath that comes through your nose. Embarking on an organizational project and accidentally falling into a photo album and crying about the pictures and organizing almost nothing tangible but making a few things more clear in your brain.

So much of this episode is about the AWFUL POINTLESSNESS OF DECORUM. How loud is too loud when you’re drinking stolen wine and shrieking about sex in a church right before your father’s funeral? How should you feel--thirty years later, as an accommodating, anger-averse person--about having been too angry to attend the funeral for your father who killed himself? What expression should you make when you show up really late to a different funeral? Why must you wear uncomfortable shoes just because someone died? What happens in your mind between standing up to give a eulogy for a man you’re still angry with and choosing to Rick Roll your mom and everyone else as an act of complicated love, humiliatingly incomplete until someone else starts to sing? Should you worry about your therapist seeing your normally tidy flat in a full-on state of depression mess? Is it okay to be offended that your boyfriend is so uncomfortable about death that he can’t stop making morbid jokes? Should you care about other people caring that you’re crunching an apple in church or squealing with joy to be reunited with a friend you’ve not seen in awhile? Are you obligated to explain your behavior if your kid doesn’t understand how you could stay with someone unfaithful? How far behind the counter should you sink when your [undefined relationship person]’s mother has just let you know she can see your dick through your underwear? Is a funeral reception an okay place to find a hookup? Is a funeral reception a decent spot for a break-up? Is a funeral reception a good time for a love confession when you know the person you’re confessing to is happy with someone else? And who do you make eye contact with when you can’t look directly at the person asking you if you’re okay when there’s so, so much about you she doesn’t know yet? Even if--for this tiny little moment within a vast swath of many okay and not-okay moments--you’re honest when you tell her that you are?

I fucking adored this episode because it answers all these questions very simply: Show up. Show up for yourself. Show up for your friends. Try not to harm yourself. Try not to harm your friends.

I love that this episode is about the messiness of adulthood and the things we bring with us from childhood and that it takes place partially in Rebecca’s childhood bedroom, and in Ted’s childhood memories. Dwelling in those places (whether physically or mentally) isn’t an automatic recipe for regression, but it does get everyone closer to the things that made them who they are, to the unresolved and half-buried parts of them that still make them tick today.

Forever obsessed with every single detail about Rebecca’s childhood bedroom.

Forever obsessed with Deborah’s decision to Rick Roll herself every single morning of her life.

Forever obsessed with Rebecca’s decision to Rick Roll her father’s funeral as a way to not have to make up a single word about her father and to do something very vulnerable and kind for herself and her mother and everyone.

Forever obsessed with Ted’s decision to Rick Roll Rebecca Rick Rolling her father’s funeral.

Forever obsessed with an entire found family backing it up.

I love that it is Isaac’s leadership that ensures every single member of the team attends the service for Paul.

I am very, very interested in Jamie’s love confession to Keeley because I do think it will spark some reflection in Keeley but I do not think it’ll go the cliched love triangle route.

Each scene with Rebecca and Sam struck (for me, a human being sharing a subjective perspective on the internet) the tender-awkward-beautiful-stressful chord I was hoping it would. I think it’s wonderful that Sam is honest with Rebecca about how difficult it is to keep their relationship a secret, and I love that Rebecca has a million mostly-unarticulated reasons for why she’d much prefer the secret to continue. I like that Sassy, Keeley, and Nora respond to the revelation as friends; they might be tempering their judgments in part because they’ve all gathered to bury Rebecca’s dad, but I don’t think their reactions would’ve been that different even on a happier occasion.

While there are a million and one different reasons why a continued relationship between Rebecca and Sam could cause serious ethical problems, I really love that when people share big news on this show, the people who care about them generally react by trying to see why the person is doing what they’re doing. Doesn’t mean they shouldn’t also hold each other accountable, but in my book it’s OK that Keeley’s first reaction was to feel happy that her friend is having some fun.

Also everyone has been making weird judgment calls this season, and this episode felt like a moment of real breakthroughs in terms of people telling the truth about things that happened to them and leaving themselves open to honest responses from others.

September 13, 1991. It’s so tenderly, beautifully, overwhelmingly meaningful that there’s still so much Ted and Rebecca don’t know about the things they have in common in these parallel lives they’re leading. The scene between Sarah Niles and Jason Sudeikis is so beautifully acted, and so is the scene between Hannah Waddingham and Harriet Walter. The way they intertwine to communicate that Ted and Rebecca basically lost the ability to trust their fathers simultaneously, from an ocean away? In the hands of lesser storytellers, it would feel too perfect a mirroring, but here it feels heartbreakingly imperfect. All the things they still don’t know. All the questions they try to ask each other. All the things they don’t dare ask yet. And then the storytellers are holding a candle up to all of it and letting the audience bask in the glow of this connection even if Ted and Rebecca can’t fully understand it yet.

I am so proud that Rebecca and Deborah were able to embark on the beginnings of a conversation about the ways Deborah and Paul’s relationship might have resembled or not resembled Rebecca and Rupert’s. It feels possible that they could get to a point where Rebecca truly internalizes her mother’s pride that she broke a cycle by leaving Rupert, and could maybe even understand why her mother made the choices she made. I love that in the final scene, they’re still relying on their old mother-daughter conversational patterns—the frustrations, the snippy shorthand, the passive-aggression. Mothers and daughters!

I am also proud that Ted—albeit via a joke about Sharon charging him for the house call—indicates that he understands the value of Sharon’s work. He’s changed a lot, all in realistic ways for someone who loves learning and really does want to meet people where they are and appreciate them. I’m very moved that instead of putting himself in a real harmful situation by showing up to the funeral on time at any cost, he did what he needed to do to take care of himself and accept care from someone else. And then Sharon’s suggestion that he think about things he loved about his father? And the way he’s able to share a positive memory of Rebecca’s own father at a time when she really needed it? Gosh.

Awkward, undecorous transition from 1991 to present-day incoming...but SASSY! She’s just, like, a whirling dervish of loyal friendship and not giving a fuck and penis size discussions and being casually, delightfully cruel to Rupert, who so deserves it. Rebecca was going on a real face journey when Sassy goes off with Ted at the end, and I’m sort of *eyes emoji* about all of that, but I continue to feel like Sassy is the most imperfectly wonderful friend-from-the-past kind of person and I love everything she and Nora get to do in this episode.

Keeley saying “That baby is whack” might be my favorite line in the episode? Maybe the whole show? Not really but really.

FUCK YOU, RUPERT. Bex and Diane, y’all are fine. And I truly feel for Nate...whatever scheme he’s getting suckered into. Whatever insecurity Rupert is preying on. I want Nate to go to therapy, too.

I feel like it was an unpopular opinion at the time, but I loved Rebecca’s 2x1 revelation about vulnerability and fear of getting hurt and needing to let someone love her. Sassy doesn’t always word things in the most nuanced way, but I think there’s a real possibility that she did ask Rebecca to really consider what it means to feel either safe or unsafe with a person but to know that in either circumstance, that person could end up causing her pain. Standing in that closet with Sam, managing to make it clear that she’s not asking for a break because she knows he will hurt her but because she has to figure out how to be with a wonderful person who could cause her pain...the growth, man. Makes me emotional.

I emerged from this episode feeling, of course, stunned by all the amazing parallels and revelations and beautiful acting and Rick Rolls and just, everything. I also emerged feeling sad/raw/tender because messiness and decorum and growth and coping mechanisms and death and dramatic irony and not knowing things about people and not knowing what you don’t know...it’s a sad, raw, tender place to be.

To quote a guy who got a whole sitcom (lol) named after him, life is real hard.

[autisticandroids]

your wifification meta c'est magnifique! i was thinking about that & about the idea of early seasons cas being used as a weapon/object more than a character/subject and the thing is, i think cas likes to be objectified? this may be me projecting, but i think he understands his place in the world through his function in it (that's why human cas in s9 hurts so much) so he's happy to be dean's defanged malewife if it keeps him in dean's world

i completely agree! i think cas finds it easy to see himself as an object and to self-objectify for other people’s benefit. and i totally buy like..... where’s that post about how supernatural is a story about cas just trying on various personalities trying to get dean to like him, because that is IT. and honestly that’s an aspect of cas’ wifification that i enjoy.

(edit: here is the post)

like, the meta was about how like. the wifification thing happened because of homophobia but like. homophobia is in the water supply, man. i don’t think any gay people were oppressed because cas became wife. so in the end it’s really just. a writing choice

and there are aspects of it which are good! cas self-objectifying for dean’s benefit, colette parallels and the whole mark of cain situation (I AM VERY MUCH NOT IMMUNE TO “I’M THE ONE WHO’S GOING TO HAVE TO WATCH YOU MURDER THE WORLD”), hot girl cas existing, giving cas a baby which fixes all his problems.... all those are wonderful.

there are aspects that i strongly dislike! cas not knowing how to throw a punch anymore, for example, or the fact that cas never got to kiss a man who wasn’t dean, which is like. i genuinely do think they could have made cas textually casually bisexual as long as it wasn’t too relevant to the story if they were not obsessed with making sure that no one thought his love for dean was anything other than totally chaste. i don’t know if they WOULD have but then could have and i would have liked to see cas kiss male hannah. but that’s more of a pipe dream. the main issue is that cas forgot how to do violence or use his angel powers which is SO annoying to me just from like, a the-story-doesn’t-make-sense perspective, and also from an i-enjoy-watching-cas-do-a-murder perspective

[jadelotusflower]

July 2021 Roundup

Discussed this month: The Once and Future King, The Good People, The Secret of Kells/Wolfwalkers/Song of the Sea (aka "Irish Folklore" Trilogy), The Matrix Trilogy, the John Wick Trilogy, Space Jam: A New Legacy

Reading

The Once and Future King (T.H. White) - I've actually read this before, but it was a long time ago and I remembered very little of it so it seemed time for a revisit. Written between 1936 and 1942, this is a surprisingly meta retelling of Arthur and Camelot, very obviously and heavily influenced by WWII, with much academic pondering on the concept of humanity and war and ongoing conflict against Might=Right - looking to the past to try and understand the present. Some familiarity with the legends is assumed, White occasionally making reference to Malory, and there is a strange anachronistic feel - Merlin lives time backwards and talks of Hitler and other 20th Century references, White frequently refers to Old England and the way things were "back then", but also calls Arthur's country Gramarye, the narrative taking place an a kind of alternate history/mythology where Uther was the Norman conqueror of 1066, and yet reference is also made to the Plantagenet kings.

Comprising five volumes (the first four published separately at the time, and the final posthumously), it struck me on this read how each of the first four are structured around the childhood of a major player -Arthur (The Sword in the Stone), Gawain and his brothers (The Witch in the Wood), Lancelot (The Ill-Made Knight), and Mordred (The Candle in the Wind), and how their upbringing played a part in the inevitable tragedy of Camelot. In the final volume, The Book of Merlyn, it comes full circle as Arthur on the eve of his death is taken to revisit the animals of his childhood for much philosophising (at one point Merlyn argues at length with a badger about Karl Marx and communism.)

The Sword in the Stone is the most engaging, with young Arthur (known as "the Wart") and his tutelage under Merlin, being turned into various animals like an ant, a goose, and a hawk to learn about each of their societies (political allegories), and meeting with Robin Wood (Hood) and Maid Marian to battle Morgan le Fay, and the climactic pulling of the sword from the stone. This was of course the source material for the Disney film, although missing the wizards duel with Madam Mim (appearing in the original publication, but removed for the revised version).

The Ill-Made Knight is the longest volume and was honestly a slog to get through, because honestly Lancelot is pretty dull/terrible, and the Lancelot/Guenever love affair less than compelling. Ultimately it's Lancelot's hubris that dooms them - he is warned that Mordred intends to catch him out in Guenever's room, but he goes anyway, and doesn't leave when he tells her to, because he is stupid.

It’s no surprise that the female characters are given the short shrift, but there’s an uncomfortable vein of misogyny running through the book. To wit:

Elaine had done the ungraceful thing as usual. Guenever, in similar circumstances, would have been sure to grow pale and interesting - but Elaine had only grown plump.

And then later:

Guenever had overdressed for the occasion. She had put on makeup which she did not need, and put it on badly. She was forty-two.

Morgause (the eponymous witch in the wood/queen of air and darkness) is a negligent mother whose sole motivation is revenge, Elaine rapes Lancelot by deception, Guenever is hypocritical and shrill (but achieves a sliver of nuance in Candle), Nimueh is a nonentity, and Morgan le Fey is a monstrous fairy. If only White had turned his academic pondering inward and in order to examine the role of women in his worldview other than as damsels or instigators.

But Arthur also gets the short shrift - after all the focus in his childhood, he becomes almost a peripheral figure in the rest of the story until the very end, and we're not actually given much to show why he is the once and future king, other than that he tries to institute a slightly less brutal system.

Ultimately, White is more interested in philosophy than character, and so Camelot's inevitable tragedy feels more clinical than visceral.

The Good People (Hannah Kent) - If the Irish Folklore Trilogy (discussed below) is the beauty and wonder of Irish myths and legends interacting with the human world, this book is the cold danger of superstition and the devastating affect of folklore used as an explanation for life's ills. Set in 1820's rural Ireland, Nora is widowed and left with the care of her young disabled grandson Michael, believed to be a changeling. The local wise woman Nance, who feels the touch of "the good people" sets about to drive out the fairy from the child, believing that the "real" Michael will return, much to the growing dread of Mary, the teenage girl Nora has hired to care for him.

Here fairies are seen as a malevolent force, "sweeping" away women and children, causing bad harvests, and bringing death to the village - to be respected and feared. And then there's Nance, bartering traditional cures for ailments and troubles - some work, some do not, and some pose great danger. On the other hand, this is a remote village where a doctor must be fetched from Killarney, and only one priest who is less than charitable. Neither provide any help or support to Nora.

SPOILERS It's an upsetting read dealing with dark subject matter - grief trauma, child abuse and accidental infanticide, a kind of slow burn horror. If it takes a village to to raise a child, it also takes one to kill a child, as mounting fear and superstition moves through the population like a contagion, heightening Nora's desperation for the "return" of her grandson, and Nance's to prove her knowledge. It's an impeccably researched novel (based in part on a true event) but very unsettling - poor Michael is never really given humanity, and I feel this book would be hugely triggering in its depiction of disability and neurodivergence.

Watching

The Secret of Kells/Song of the Sea/Wolfwalkers (dir. Tom Moore) - I've been meaning to watch these films for absolutely ages, and I finally got to them this month. I’m pleased to say that the many people who recommended them to me were absolutely correct, because they appear to have been made to specifically cater to my interests. Some mild spoilers ahead.

I watched these in internal chronological order as suggested by @ravenya003, starting with The Secret of Kells, set in 9th Century Ireland where the young monk Brendan helps illuminate the to-be famous manuscript and befriends a forest sprite Aisling, under the threat of a Viking raid. Next was Wolfwalkers, jumping forward to 1650 Kilkenny where the English girl Robyn, daughter of a hunter, is drawn into the world of the forest and Mebh, who turns into a wolf when she sleeps. And finally we go all the way to 1980's in Song of the Sea for the story of Ben, who must help his younger sister Saoirse (a selkie) find her voice and bring back the faeries who have been turned to stone by the owl witch Macha.

Although the stories are completely separate, they've been described as Moore's "Irish Folklore" trilogy, and it’s easy to read a through line from Kells to Wolfwalkers in particular - both deal with fae of the forest, and Aisling appears as a white wolf at the end of the film (having lost her ability to appear in human form). I like to think that Aisling is in some way the progenitor of the wolfwalkers - after all, Kells and Kilkenny are less than 200 kms apart.

Song of the Sea is distant from the other two in both time and subject matter, dealing with selkies, creatures of the water. In many ways, Kells and Wolfwalkers feels like a duology, with Song more its own thing. On the other hand, an argument could be made for common fae spirit/s in different forms across all three films - Aisling is a white sprite, Robyn takes the form of a white/grey wolf, and Saoirse a white seal.

The strength of these films other than the folklore is the visual style - I really love 2D animation, and while I appreciate the beauty of cg animation, I often find in the latter’s focus on hyper-realism the artistry can be left by the wayside. These films not just aesthetically beautiful, but the art is used to tell the story - from the sharp angles that represent the darker or harmful elements (Crom, Vikings, the Town), to the circles and rings that represent safety and harmony (the Abbey, the forest, Mebh and her mother/the wolves healing circle, the holy well). The exception is probably the home of Macha, the owl witch, where circles are also prominent and represent magic, and this is often the case in folklore (fairy rings, fairy forts, etc).

Kells is the most stylised, resembling tapestries or pages and triptychs from medieval manuscripts, playing with perspective. I actually saw pages from the real Book of Kells years ago in Dublin, and remember them being very beautiful. We only get glimpses of the Book and the stunning Chi Rho page at the very end of the film, but the style of art is present throughout the film and particularly in the forest where Brendan finds inspiration for his illumination, and on the flipside his encounter in the dark with Crom Cruach, represented as a chalk-drawn primordial serpent.

This style is also present in Wolfwalkers, particularly stark in the way the birds-eye grid of the town often looms over Robyn in the background and in her work at the castle. The depiction of the forest has more of a storybook quality however, as does Song, where almost every frame resembles a painting, particularly the sequences of Saoirse's selkie trip through the sea and Ben's fall through the holy well.

Rav points out in her review that there is the ebbing away of myth and magic in each successive film, contrasted with the rise of Christianity/modernity. But there's circles and rings again, because while the ultimate power of the faerie world is fading away, the interaction between our human protagonists and faerie actually increases with each film. In Kells, we have only Aisling and Crom, in Wolkwalkers, we have Mebh and her mother whose ranks grow to include Robyn and her father, and finally in Song we have Saoirse, Bronagh, Macha, the Na Daoine Sídhe, and the Great Seanachaí.

Watching in the order I did, it does give the impression of the mythological world opening up to the viewer, gaining a deeper understanding and exposure as time progressed. On the other hand, that is also because the human world is gradually encroaching on the world of Faerie, from isolated settlements like the Abbey of Kells, to growing town of Kilkenny and the logging of the surrounding forest, to a modern Ireland of motorways and power lines, and industrialised Dublin where the remaining fairies have moved underground. It makes the climax of Song, with the fairies restored but returning to the land of Tír na nÓg, rather bittersweet.

I also credit the strength of the voice acting - the adult roles are minor but with greats including the dulcet tones of Brendan Gleeson and Sean Bean, and the ethereal Maria Doyle Kennedy (who I wish had gotten to do more). But the child roles are all performed so well, particularly Honor Kneafsey as Robyn, whose growing desperation and distress is just heartbreakingly palpable.

The Matrix Trilogy (dir. The Wachowskis) - I usually don't post rewatches in the Roundup, but I really, really love these movies. I will never forget seeing The Matrix at the cinema as a young teen, knowing nothing other than the tease of the enigmatic trailers, and just being completely blown away by it, and then becoming completely obsessed a few years later in the leadup to Reloaded.

It wasn’t my first fandom, but it was probably the first time I took fandom seriously. I was very invested in Neo/Trinity in particular as well as all the mythological/literary references that fed directly into my interests. I haven’t however gone back and read the fic I wrote, for fear that it is very, very cringe. I know where is is though, so maybe one day before the ff.net is purged.

This is Keanu Reeves at his most handsome, and while he doesn't have the greatest range (as many actors don't, although they don't get as much grief for it), when he's in the zone there's no one else who could do it better. He just has a Presence, you know? A vibe, and it compels me.

This is particularly present in Neo, a character whose conflict is almost entirely internal, burdened by the weight of his responsibility and destiny, both before and after he learns it is a false prophesy. He’s not your typical quippy macho action hero, but much like my other fave Luke Skywalker, is a character who is ultimately driven by love and self-sacrifice. I definitely have a Type of male hero I adore, and Neo fits right in there.

I also really love the sequels, flaws and all, because you know what, the Wachowskis had Ideas and they weren't going to deliver Matrix 2: Electric Boogaloo. Each film goes in an unexpected direction, and not in a subverted expectations ha ha silly rabbits way, but one that does have an internal logic and pulls together a cohesive trilogy as a whole, and how often does that happen these days?

The sequels are so…earnest, with none of the cynical cool detachment perhaps some would have preferred - at its core a trilogy exploring philosophy and the nature of prophesy vs choice, determinism vs free will, and the power of love. Maybe it can be hokey, and some of the dialogue a bit overwritten, but I don't care, there's so much I still enjoy even having seen the trilogy many times over the years.

Not to mention the great female characters - while I'm not sure any of the three strictly passes the Bechdel Test, we have Trinity and Niobe in particular who I love with all my heart. It does kind of annoy me that the Trinity Syndrome is so named, because it only applies in the most reductive reading possible, and Trinity expresses agency (and badassery) every step of the way, saving Neo just as much as he saves her. I mean..."dodge this"/"in five minutes I'll tear that whole goddamn building down"/"believe it"? Niobe piloting the Hammer through the mechanical line in Revolutions? Iconic. There are criticisms that can be made, sure, but the trilogy ultimately loves, respects, and appreciates its female characters (and important to note that the avatars of The System, the Architect and the Agents, are all white men).

Then we have the Oracle, who ultimately holds the most power and is the victor of the human/machine war. There's so much going on with the Oracle I could talk about it all day. It's that fate vs free will question again (“if you already know, how can I make a choice?”), but with the wrinkle of manipulation (“would you still have broken it if I hadn’t said anything?”). Choice is the foundation the Matrix is built on, the unconscious choice for humans to accept the system or reject it - the Architect can't control that, he can only manage it, and the Oracle can't force Neo onto the path she has set out for him, only predict the choices he will make based on her study of the human psyche ("did you always know?"/"No...but I believed"). But she plays with the concept of fate in a complicated web of prophesies for outcome she wants and trusting the nature of Morpheus, Trinity, and Neo to bring it about.

And then there's the visual storytelling - there is so much meaning in almost every frame and line of dialogue. The mirroring and ring cycles not only in the constant presence of reflective surfaces and central metaphor of the Matrix as a simulacrum, but the androgyny of Neo and Trinity, bringing each other back from the dead in successive films (and ultimately both ultimately dying in the third), Neo and Morpheus’ first and last meetings, Smith who is ultimately Neo’s dark mirror, the Oracle/the Architect, just to name a few. I just…really really love these movies? Maybe I’ll do a full post rewatch sometime.

I am however reserving judgement on the Matrix 4 - already there are a few things making me uneasy. Lana is the sole director for this one (Lilly is not involved), and Laurence Fishburne apparently wasn't even asked back, even though Morpheus actually survives the trilogy (as opposed to Neo and Trinity). But I’m interested, and don’t want to go in with any expectations, but rather ready to be surprised again like I was when I watched the first film (and hope I can stay away from spoilers).

John Wick Trilogy (dir. Chad Stahelski) - It was a trilogy kind of month! This genre is generally not my thing, as I don’t have a high tolerance for graphic violence and pure action bores me after a while, but I was in a Keanu kind of mood and I'm always hearing people go on about John Wick so I wanted to know what (if anything) I was missing. While still a bit too violent for my tastes, if nothing else I could appreciate the dance-like fight choreography, even if the worldbuulding is absolutely ridiculous - I mean, literally thousands of assassins across the world chilling in sanctuary hotels, supported by a vast network of weapon suppliers, tailors, surgeons, spy networks, etc? It’s silly, but hey, I was happy to go along with it.

What I do appreciate about Keanu Reeves, and this seems to be a common thread, is that even when in action hero mode (Matrix, Point Break, John Wick, and to a lesser extent Speed), he consistently plays a man who is completely in love with his partner/wife - like, completely, unapologetically devoted to them, and I think that is a big part of the appeal - it's that Keanu energy that is often the antithesis of toxic masculinity, even when in roles that would ordinarily rely on those tropes.

Wick is in many ways the spiritual successor to Neo - insular, taciturn, and even as he's dispatching death with clinical precision. Much like Neo, Wick is a character who is somehow Soft (tm) despite all the violence. I once listened to a podcast where they amusingly discussed the Reeves oeuvre as simulations of Neo still trapped in the Matrix, and it’s very easy to make the case here and imagine John Wick as Neo plugged back in after Revolutions, mourning Trinity and set on mission after mission to keep his mind active (and it would certainly explain why the guy hasn’t dropped dead after being stabbed, beaten up, strangled, hit by a car, shot, and falling off a building). It’s a fun little theory.

Stahelski was Reeves' stunt double and a stunt coordinator on The Matrix and there's plenty of homages in the visual style and reuniting Reeves with costars Laurence Fishburne and Randall Duk Kim (who played the Keymaker).

I did also find it amusing that Wick is also often referred to as babayaga (equated in the film to the bogeyman). Well, Wick is in many ways a witch who lives in the woods, just wanting to be left alone with his dog, and there is a supernatural energy to the character, so...I guess?

Space Jam: A New Legacy (dir. Malcolm D Lee) - I took my niece to see this at the cinema and it was…pretty much what you would expect. I thought it was fine for what it was, even if a bit slow in parts (it takes a looong time for the looneys to show up) and I wonder if they have the same cultural pull they had in the nineties (the age of Tweety Bird supremacy). But the kids seemed into it (my niece liked porky pig) and that's what counts I guess.

This time, the toon battle royale takes place on the WB servers, where evil A.I. Don Cheadle (having the time of his life chewing the cg scenery) wants to capture Lebron James for...reasons, idk. James and Bugs have to find the rest of the looneys scattered across the server-verse, a chance for WB to desperately remind people that they too, have media properties and a multiverse including DC comics world, Harry Potter world, Matrix world, Mad Max world, Casablanca world etc. Some of it feels very dated - there is I kid you not an Austin Powers reference, although it did make me smile that Trinity was on James’ list of most wanted players (skill: agility).

Unfortunately, nothing it really done with this multiverse concept except “hey, remember this movie? Now with looneys” six times, and the crowd for the game populated by WB denizens including the Iron Giant, Pennywise, the monkeys from the Wizard of Oz, Scooby Doo and the gang, etc. But still, it's fun, and hardly the tarnishing of a legacy or whatever nonsense is driving youtube clicks these days.

Writing

The Lady of the Lake - 2335 words.

Against the Dying of the Light - 2927 words, Chapter 13 posted.

Total: 5272 this month, 38,488 this year.

[portmanteaurian]

So this year I, like a lot of people, was going through some stuff. And the way I coped, particularly over the summer, was by reading. I read between 275 and 300 books this year (final count pending), which is certainly the most I’ve done in at least a decade. And a lot of them were very good! I narrowed myself down to a list of forty recommendations, with short write-ups of ten, and made a point of not repeating authors. You can see everything else on my StoryGraph account though.

YA/MG:

The Beast Player - Nahoko Uehashi trans. Cathy Hirano

Death Sets Sail - Robin Stevens

Echo After Echo - A.R. Capetta

Half World - Hiromi Goto

A Phoenix First Must Burn: Sixteen Stories of Black Girl Magic, Resistance, and Hope - ed. Patrice Caldwell

Shadow of the Batgirl - Sarah Kuhn & Nicole Goux

A Song Below Water - Bethany C. Morrow

The Scapegracers - Hannah Abigail Clarke

YA contemporary fantasy is obviously a well-trodden genre, but this felt like a really fresh take. Sharp prose, interesting magic system, and a really fantastic and original-feeling POV character. I can’t wait for the sequel.

We Are Not Free - Traci Chee

This is a historical novel about residents of Japanese-American internment compounds during WWII, so it is not a light read. But it was powerfully emotionally affecting, and really compelling from a craft perspective as well; each chapter is narrated by a different character, and seeing how all the perspectives intersect is really remarkable.

ADULT FICTION (mostly spec):

A Choir of Lies - Alexandra Rowland

The City We Became - N.K. Jemisin

The Empress of Salt and Fortune - Nghi Vo

The Four Profound Weaves - R.B. Lemberg

Homesick: Stories - Nino Cipri

Master of Poisons - Andrea Hairston

Mexican Gothic - Silvia Moreno-Garcia

The Order of the Pure Moon Reflected in Water - Zen Cho

Phoenix Extravagant - Yoon Ha Lee

Piranesi - Susanna Clarke

The Seep - Chana Porter

Skin Deep Magic - Craig Laurance Gidney

Stormsong - C.L. Polk

Freshwater - Akwaeke Emezi

One hell of a debut novel. Emezi has said it’s largely autobiographical, which makes it one of two really unique takes on autobiography and memoir that I’ve read this year. It’s about trauma, immigration, queerness, disability...I really just recommend you read it, though perhaps after checking a summary, as it deals very frankly with some potentially triggering subjects.

Not So Stories - ed. David Thomas Moore

This year I spent a lot of time with short stories and novellas, which is a little unusual for me. Several collections made a strong impression (there’s a few others on this list), but I adore the conceit of this one, which features a group of authors of colour responding to Kipling’s intensely colonial “Just So Stories” by writing new fables of their own. Some directly riff on Kipling’s tales, others go in entirely new directions, but all are really effective.

The Raven and the Reindeer - T Kingfisher

Kingfisher is one of those authors I discovered this year who I am shocked I had never read earlier. She’s prolific, works in genres I like, and is beloved by several of my friends. Consider this book a stand-in for her catalogue in general on this list, although of all the books by her I read it’s the only direct fairy-tale retelling. Really great take on Andersen’s Snow Queen

The Unspoken Name - A.K. Larkwood

This was just a ton of fun. Very queer, frequently hilarious, in a totally bizarre fantasy world (worlds, even!) and with a great protagonist. Another really confident debut novel, and another one where I can’t wait to check out where the series goes from here.

NONFIC:

The Body Keeps the Score: Brain, Mind, and Body in the Healing of Trauma - Bessel van der Kolk

Disability Visibility: First-Person Stories From the 21st Century - ed. Alice Wong

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

Distorted Descent: White Claims to Indigenous Identity - Darryl Leroux

In the Dream House - Carmen Maria Machado

The other unique memoir I alluded to above, Machado non-linearly unpacks an abusive relationship she experienced with incredible clarity and artfulness. As someone who’s experienced abuse, parts were very familiar, and Machado’s writing is very effective at laying a situation bare (a skill she uses to great effect in her short fiction as well). This book also has some of the most memorable and narratively impactful citations I have ever seen. Read it to understand how that’s the case.

The North-West is our Mother - Jean Teillet

This is straight-up a history book but it’s a very clear and engaging one. For people who’ve ever wanted to know more about Métis people and our history, particularly in the 19th and early-20th century, this is going to be one of my go-to recs. It’s a little sparser with the more recent stuff, but there are other books to fill that gap.

ROMANCE:

Band Sinister - K.J. Charles

The Doctor’s Discretion - E.E. Ottoman

Invitation to the Dance - Tamara Allen

Two Rogues Make a Right - Cat Sebastian

Silver in the Wood - Emily Tesh

A Taste of Honey - Kai Ashante Wilson

Behind These Doors - Jude Lucens

This year is really the first I’ve read romance in any serious way, but I did read a lot of it and learned a fair amount about what I like. This ticks a lot of those boxes (historical [Edwardian, in this case]! Gay! Engages honestly with social issues of the period!) while also being a story about people negotiating polyamory, with much of the conflict being rooted in how one effectively communicates with the people they care about. Really different from anything else I read, and really well-done.

The Care and Feeding of Waspish Widows - Olivia Waite

This is probably my favourite romance novel of the year. It’s a slow-burn Regency story about the relationship between two middle-aged working women, a beekeeper and a bookseller. It’s also a story about prejudice, mob mentality, and the intense class divide in Regency England -- the Peterloo massacre is a significant element, and the way that opposition to it brought together a coalition of different social groups that ultimately could not hold due to other prejudices dividing them. It’s really nuanced, and really effective. Also, I am assured by a lesbian friend that the sex scenes are very hot.

SO ANYWAY. A lot of recommendations, and more detail about some of the ones I most encourage people to pick up. Really in my opinion you can’t go wrong with any of these, though, and I hope you take a look at some next time you’re searching for something to read!

What a year, huh?

[bookaddict24-7]

I said at the beginning of the year that I would share my reviews more on my blog instead of just on Instagram and Goodreads. I’ve been reading a lot so far this year, so my reviews will be delayed on here. I’ll hopefully post five (mini-ish) reviews per week!

Friend me on Goodreads here to read my reviews in real-time!

___

16. Down Among the Sticks & Bones (Wayward Children #2) by Seanan McGuire--⭐️⭐️⭐️⭐️/5

“Short and bite-size, this was the darker tale of the twins, Jack and Jill. I was surprised to get a story of their experienced through their door. If the other stories are like this then I’m doubly excited! Their story is so sad—both of these girls fell into these pre-chosen boxes and because of their lack of parental love growing up, their door offered them dangerous alternatives. Now I can more fully understand what happened in book one and why it happened.”

___

17. All the Light We Cannot See by Anthony Doerr--⭐️⭐️⭐️⭐️⭐️/5

“I am normally not a historical fiction reader, but I was immediately sucked into this story created by Anthony Doerr. I listened to the audiobook alongside the book and oh my gosh. There were times where I had to stop and make sure I’d heard correctly, or certain moments in the book that just felt like a punch. Unlike so many other fiction books I read, it’s nearly impossible to have a happy ending with a book based in such a dark moment in history. Even if you think that someone will have a happy ending, or if the impossible might happen for the sake of fictional characters, you’re not safe. Also, much like in real life, so many mysteries remain after the last page of this book. So many lives that we grew to love will forever be gone and we will never have answers for them. One of my favourite characters in this book was Marie-Laure’s father. His patience with his daughter and his perseverance to keep them safe made him a hero in this novel. The love he gave her and his kindness made me wish I could hug the man. Werner was someone who lived in that in between of duty and morality—my theory is that his white hair was a representation of his nature and who he was in this story. And throughout the story, there is the great mystery of the supposedly cursed jewel. I think in showing us this, we were able to see how devastating the ravaging of museums and other, now forever lost, works of art and jewellery were during the war. I do want to say that there are trigger warnings for death and the allusions to the camps. There is cruelty braided with our characters’ stories because this is, at its heart, a book about war and how it affects even the smallest of people. This whole book is incredibly memorable. I highly recommend it! And if you’re unsure of historical fiction, I just have to say that the chapters are super short. You just have to go in remembering that this isn’t a romance novel, or a book with the perfect happily ever after because of its subject matter.”

___

18. Summer Knight (The Dresden Files #4) by Jim Butcher--⭐️⭐️⭐️⭐️/5

“I’m finding that the further I get into this series, the easier it is to read and get into. Maybe it’s because I’m growing accustomed to the themes and ideas and the characters. I can’t wait to actually read this whole series—thank you, Library, for making this possible. Anyway, I wanted to punch a few characters in this book. Harry deserves to be treated so much better—I don’t understand why these people are so quick to think the worst of him. But despite everything, he still has such a level of self-control and is intelligent enough that he knows how to maneuver himself through these obstacles. Am I the only one that low-key wants him to hook up with Murph?”

___

19. Head Over Heels by Hannah Orenstein--⭐️⭐️⭐️⭐️/5

“TW in this book for: Emotional abuse, allusions to sexual abuse This book completely surprised me! I was hooked immediately from the beginning and couldn’t stop listening to it! I love romance novels that can just pull me in from the very beginning. There were a couple of moments near the beginning of the romance where the MC seemed to act a little hypocritically. But other than that, I really enjoyed this one! I loved the focus on the emotional and sexual abusive side of this sport. Though I’m no expert (like seriously, I know nothing about gymnastics), I just liked that the author touched on these topics. There’s a documentary on Netflix about this topic that I really want to watch now. I thought the MC’s growth as a character as she tries to figure out her life was great. Her relationship with the young gymnast she’s training was heartwarming, especially when you learn more about her own past. I do wish the love interest had a better redemption arc because the resolution there felt a little too clean cut. If you love romances that feature sports and aren’t super spicy, but focus more on the MC’s personal growth, then you might like this one!”

___

20. Admission by Julie Buxbaum--⭐️⭐️⭐️/5

“This was an interesting read because it doesn’t have the usual tropes you might find in contemporary YA fiction. The main focus of this book isn’t romance (like we so often see), it’s a girl growing and accepting her imperfections, the privileges that so many people choose to ignore, and how some friendships are meant only for certain phases in our lives.

This is also a book about consequences and how it doesn’t matter what social status you have. While I felt bad for the MC, I can also see why she is dealt the consequences she experiences. This was also a great window into what the admissions scandal might have looked like while the cases were being tried. I feel like there was still a lot of privilege at the end that both undermined the main story, but also served as proof of how privilege works for the wealthy. I’d recommend this if you want to see a fictional perspective of the admissions scandal! Also, if you want to read a story about privilege from the perspective of a white, rich teen girl. (Not me being snarky—it’s actually quite interesting seeing how oblivious she is at times and some of the seriously ignorant things she sometimes says.)”

___

Have you read any of these books? Would you recommend them?

___

Happy reading!

[barcarole]

I saw pictures of philosophical texts & i was wondering for someone who's interested in reading philosophy where should i start?

Philosophy is an ample spectrum of diverse subjects, perspectives, and unanswered questions. I’m by no means an expert, but below are several works that can serve as an introduction. I have also included second-hand reference/guide books, as well as databases, courses, and podcasts that can help for general orientation. Feel free to explore as you wish (don’t feel too compelled to follow linearity — rather your own instinct and interest). Keep in mind that philosophy is not just about studying ideas and notions, but also about your judgment and reaction towards these according to your own experience or speculation. It’s also about questioning your own beliefs in different areas and discovering your own standpoint. It’s preferable to have a historical notion of influence, context, and consequence, but it should be a stimulating endeavor for you. Discovery shouldn’t feel like a chore but a challenge. You will eventually find yourself drawn to particular conceptions and thinkers that will create more questions and compel you to explore certain areas more than others. [Other kinds of literature are complementary to philosophy, so I have also included texts that might aid and encourage further inquiry].

Philosophical Works

The Upanishads

Tao Te Ching, Laozi

Meno | Theaetetus | Phaedo, Plato

Nichomachean Ethics, Aristotle

Letter to Menoeceus | Principal Doctrines, Epicurus

Enchiridion, Epictetus

Meditations, Marcus Aurelius

Letters from a Stoic, Seneca

Of Idleness | That It Is Folly… | Of Experience, Michel de Montaigne

Discourse of the Method | Meditations on First Philosophy, René Descartes

An Enquiry Concerning Human Understanding, David Hume

On the Improvement of Understanding, Baruch Spinoza

Political Writings, Voltaire

Groundwork for the Metaphysic of Morals | Prolegomena, Immanuel Kant

Aesthetic and Philosophical Essays, Friedrich Schiller

A Vindication of the Rights of Women, Mary Wollenstonecraft

Essays and Aphorisms, Arthur Schopenhauer

Fear and Trembling | The Sickness Unto Death, Soren Kierkegaard

The Gay Science | On the Genealogy of Morality | The Birth of Tragedy, Friedrich Nietzsche

All Things Are Possible, Lev Shestov

The Work of Art in the Age of Mechanical Reproduction, Walter Benjamin

In Praise of Shadows, Junichiro Tanizaki

The Myth of Sysiphus | The Rebel, Albert Camus

The Ethics of Ambiguity, Simone de Beauvoir

The Human Condition | Eichmann in Jerusalem, Hannah Arendt

The World of Perception, Maurice Merleau-Ponty

Discourse on Colonialism, Aimé Cesaire

Mythologies, Roland Barthes

On Beauty, Umberto Eco

Philosophical Literature

[Aeschylus (The Oresteia), Euripides (The Bacchae), Horace (Satires), Attar of Nishapur (The Conference of the Birds), Rumi (Masnavi), Petrarch (Secretum), Lawrence Sterne (The Life and Opinions of Tristam Shandy, Gentleman), Voltaire (Candide | Micromégas), Denis Diderot (Rameau’s Nephew), Mary Shelley (Frankenstein), Fyodor Dostoyevsky (Crime and Punishment | Notes from Underground), Ivan Turgenev (Fathers and Sons), Chekhov (Ward No. 6 | The Black Monk), J. W. von Goethe (Elective Affinities), Edgar Allan Poe (The Imp of the Perverse), Honoré de Balzac (The Magic Skin), Oscar Wilde (The Portrait of Dorian Gray), Franza Kafka (In the Penal Colony | Before the Law | A Country Doctor), Thomas Mann (Death in Venice | Disillusionment), Stefan Zweig (The Royal Game), Albert Camus (The Stranger | The Fall | The Plague), Dino Buzatti (The Tartar Steppe), Natsume Soseki (Kusamakura), Christa Wolf (No Place on Earth), Maurice Blanchot (The Madness of Day), Jorge Luis Borges (The Library of Babel), Samuel Beckett (Molloy), Ernesto Sábato (On Heroes and Tombs), James Baldwin (Just Above My Head), Roland Barthes (A Lover’s Discourse), Thomas Bernhard (Wittgenstein’s Nephew), Audre Lorde (Sister Outsider: Lectures and Speeches) Toni Morrison (Song of Solomon)]

Reference Books

The Oxford Companion to Philosophy

History of Philosophy, William Turner

A History of Women Philosophers, Vol I | Vol. II | Vol. III | Vol. IV

The Lives and Opinions of Eminent Philosophers, Diogenes Laertius

History of Western and Eastern Philosophy, Radha Krishan

Companion Encyclopedia of Asian Philosophy, Brian Carr & Indira Mahalingam

Classic Asian Philosophy: A Guide to the Essential Texts, Joel Kupperman

History of Islamic Philosophy, Henry Corbin

A Short History of African Philosophy, Barry Hallen

Sadhana, Rabindranath Tagore

Databases

The Internet Classics Archive

Monoskop

Early Modern Texts

Forgotten Books

E-Books Directory

Gutenberg

UC Press

Stanford Encyclopedia of Philosophy

Philosophy Pages

Marxists.org

Online Library of Liberty

Lucian of Samosata

Ontology/History of Logic

Medieval Philosophy

Ethiopian Philosophy

Free Online Courses/Podcasts

King’s College London, LMU

Coursera

University of Oxford

MIT

OpenCulture

The University of Edinburgh

Open Yale Courses

[travelingtardis]

Now that season 2 is officially announced, here is what I would like to see. A lot of this information has been already repeated I know, but here is my two cents cause I like the show but it certainly has its flaws.

- the elephant in the room: Diversity.

Unfortunately the show’s whitewashing of Flora and Musa is always going to be a bitter taste in the show’s history. I think Elliot and Elisha’s acting is great and I do adore Terra, but you can’t ignore the fact they erased Flora, whitewashed Musa, and side-lined Aisha. As a POC, I was very upset about the casting when it was initially announced. The show needs more diversity, and unfortunately any diversity added will probably seen as simply a catering to the audience due to backlash. I’m not solely pointing fingers at the actors cause whitewashing is more than just actors playing POC.

- give Aisha proper storyline

This is sort of follows up my previous point. I really liked Aisha in the series, and I think Precious does a great job in the role. I feel like all the characters got some kind of storyline and Aisha just was sort of there most the time, which sucks cause I enjoy Precious’s acting. This is concerning and borderline problematic in terms of writing for me because, as I’m sure many of you know, POC tend to be written as the side-character best friend who provides support and is a perfectionist served with a side of ✨ diversity✨. These characters tend to be very one dimensional and I am concerned that Aisha was portrayed like that thought this season as a perfectionist good student with strict parents.

- the lines

There were some lines that I did cringe a bit on, which I think happened often on tv shows written for a teenage/young adult audience and a main characters of teenagers but it is written by adults.

-the fashion

I know this has been a hot debate within the show. I have seen Hannah’s comments about her opinion of the fashion for the show. I honestly don’t have a huge issue with the fashion for the show. I know people say that other shows can give their characters better fashion and teenagers don’t dress like that. This is subjective, but where I live. Most of my classmates dressed like in Fate Winx when I was in high school. I can understand Hannah’s comments on the some of the Winx’s fairy outfits being revealing cause you shouldn’t be sexualizing a bunch of teenagers, but also the show makes sexual relationships very clear ( I don’t hate they mention the characters have sex, cause idk about you guys but most relationships at my school involved some form of sexual intimacy).

Anyway I’m rambling. To the point: I don’t hate the outfits, I actually liked a lot of them. I think the show geared more towards comfort than style which I relate. But I think the fashion definitely could be better and be more creative ( like I’m all for talking about burning Terra’s outfit in the final scene).

- the relationships

This is like general relationships not just the romantic ones, I’m talking the familial and friendships. I think they developed some of the relationships very well. Essentially I enjoyed the dynamics involving the adults, so the friendship between Farah, Ben, and Saul. I loved the parental/mentor figures we saw with Sky and Saul along with Bloom and Farah at the end. Rosalind, Andreas, and Luna have interesting dynamics as well. I may of enjoyed the adults more on the show because the actors are more experienced and I’m on the weird cusp of being part of the target audience but like as a young adult, some of the teenager reactions make me wince.

Bloom’s relationship with her parents was very cringe for me. It felt very stereotypical rebellious teen with their controlling parents especially with the door removal. It felt very contrasting compared to the cartoon where they had a very supportive and living relationship. But I loved their interactions in the last episode.

Bloom’s behavior throughout the show is annoying but also does not shock me. I think she was frustrated and acting out impulse and desire to find out information. For the audience, she is being reckless cause we know all the perspectives being showed. But from Bloom’s, I can understand why she acted carelessly as she finds out the adults are lying to her, she is fitting into a new school where everyone seems to whisper about her, she is away from her family, and has an unstable support system for a lot of the show. I probably would of acted similarly if I was in her shoes.

The girls’ friendship did feel rushed but I think it was honestly due to having just 6 episodes to fit that into the plot. There was definitely some Winx magic of their friendship in the last episode and I would love to see that grow in the second season

The romantic relationships. I’m very meh about this because I confess that I skipped over a lot of the romance scenes cause it’s just not my cup of tea. So I may be missing the full picture, but the way they portrayed Riven and Dane had me very confused. Their relationship does not seem very healthy to me, Dane just confuses me to be honest cause one moment he is frjends with Terra then he ditches her for Riven and Beatrix. I just want like a healthy romance portrayed on this show.

Anywy this was a long post, I am sure there is stuff I missed and didn’t elaborate on much. This was really a ramble. This isn’t a post to send hate to the actors, I genuinely love and adore them. The actors honestly portray the original Winx characters better as themselves rather them acting lol. I still enjoy the show and will watch S2 cause I’m hoping Brian and the writers will take the feedback and use it to elevate the show. The show has good structure and amazing potential. I understand they are under constraints due to the amount of episodes but I would love to see this show improve and rewatch the heights of other Netflix shows so it can get longer seasons with proper storylines rather than being forced to condense everything and rushing

[adapembroke]

Reading Tarot Like The High Priestess

My first exposure to the High Priestess in the movie The Mists of Avalon, a retelling of the myth of Arthur from the perspective of the women in the story. The character who most embodies the High Priestess in the first part of the film is the high priestess Vivian. She is powerful, mysterious, and magical. Like the Magician, the High Priestess is a master of all the elements, but, while the Magician’s magic comes from tools, Viviane and her priestesses use none. If they want to light a pile of sticks on fire, they uses their mind. If they want to lower the mists, their only tools are their hands. The source of the Magician’s power is external. Even if the Magician works with metaphors, the metaphors he uses are ones that have meaning in the outside world. Viviane and her priestesses find the source of their power internally. When a young priestess fails to light a pile of sticks on fire because she is distracted by visions of her brother, Viviane doesn’t tell her to get better at using her wand. She tells her to concentrate, to control her mind.

The power of the mind and intuition, this is the power of the High Priestess.

The High Priestess’s Magic is Intuition

How do you talk about intuition? It’s so different for everyone. Some people have a very physical experience of intuition. When they’re about to do something wrong, they literally feel it in their gut. Other people see colors or hear a skeptical grumbling noise from a guide. Some people just know things and have learned to trust that, even if they can’t give a reason. Some people are particularly adept at noticing signs and omens. Some people need tools to help them hear their intuition. They practice automatic writing or morning pages every morning, or they start their day with a Tarot reading, or are very particular about knowing what all of the astrological transits are and how they effect them. 

All of these diverse ways of hearing from inner wisdom is beautiful, if you know what your style of intuition is, but it can be a nightmare for someone who is just starting to figure out how to work with intuition. You need intuition in order to know what your style of intuition is, and with so many options, it can be really difficult to figure out where and how to listen.

The dictionary is no help with this whatsoever. The word “intuition” comes from the Latin word intuit which means “contemplate,” which is a compound word of “to look” and “upon.” So, intuition is the thing you look at, but what are you looking at, exactly? Definitionally, intuition is like an onion. You try to get to the center of it and find nothing but air. The dictionary isn’t wrong. The messages of intuition may (or may not) be dramatic for the person experiencing them, but intuition is private, subjective. There is really nothing for anyone else to see. 

Intuition relies on what the political theorist Hannah Arendt called “a silent dialogue between me and myself.” It is in this idea that we begin to get some insight into what intuition really is. It is a way of communicating with yourself. Arendt called this silent dialog “thinking,” but intuition is more than thinking. Thinking is communicating with your rational self. Intuition communicates with parts of yourself that have nothing to do with rationality at all, the sides of yourself that are a little closer to the animals and a little closer to the gods.

The first type of intuition, the animal side, is often called your “gut.” I call it the “animal side” because it’s the kind of intuition animals have. It’s the part of you that has an animal sense of people and places. It’s highly attuned to danger and safety, friend and foe. It’s the part of you that will not shut up about avoiding that stupid stairwell at work, even though you never run into anyone there, and taking it shaves five minutes off your walk to your bus. It’s the part of you that looks at someone you’ve never met and says, “That person is bad news.” Or it’s the part of you that’s kind of like a golden retriever, who meets someone for the first time and desperately, happily wants that person to be your friend. 

The second type of intuition, the divine side, is what people usually mean when they say intuition. It’s a little bit ethereal and mysterious. It’s the part of you that knows this pendulum is for you and not that one. It’s the part of you that knows your friend really needs a hug, even though they haven’t said anything and everything about their body language says they’re fine. It’s not rational. There is no rational reason why the pendulum with the quartz stone and the moon handle is better for you than the amethyst stone with a quartz handle, but something in you knows, even before you try the pendulum, that one is for you, and the other one is not.

The more mystical expression of intuition has historically been associated with women. Some, even today, call this type of intuition “women’s intuition” and deny that people who aren’t women have access to this type of knowing at all. This is wrong. Intuition has nothing to do with estrogen or gender signaling. Everyone, regardless of their gender has intuition, but if you don’t identify as a woman, you may have a difficult time finding people in the media who use intuition to make decisions and look like you. Until this problem is fixed, sitting with the lack of representation can be, itself, a way of working with the high priestess.

The Dark Goddess

One of the High Priestess’s symbols is the moon. This marks her as a priestess of the Dark Goddesses. Dark Goddesses like Ceridwen, Hekate, and the Morrigan are comfortable with the darker side of human nature. Hekate is the goddess of witches who aren’t necessarily nice. Ceridwen is famous for her anger, and the Morrigan chooses those who are to be slain on the battlefield and eventually merged in the lore with the ban sidhe, the fairy monster who wails for the dead.

Why does the High Priestess come now in the Fool’s Journey? Why do we jump from the optimism of the Magician to a priestess of the goddesses of anger and death? 

To answer that question, I’ll add another chapter to the story about Silicon Valley from “Reading Tarot Like The Magician.” In the beginning of the life of a technology startup, things look shiny and wonderful. You’re the Magician. You have this wonderful idea, and you know that no one else in the world has ever thought of anything like it. You feel like a genius. All you need to do is raise your hand on the right street in Palo Alto, and you know that all of the bankers are going to come running with their checkbooks begging you for the privilege of giving you cash. 

You start to do the work. It goes well. You start to actually manifest some things in the world. 

Then disaster strikes. You find out about a rival who came up with your idea six months earlier than you did. You make some appointments with bankers, and you feel like you’re speaking a foreign language when you talk to them, and they can’t understand what is so genius about your work. You learn that your idea isn’t actually that easy to implement. It’s hard work, and you’ve already quit your job, and you don’t own anything but your laptop and a box of frozen burritos. Your apartment is a tiny corner of somebody’s garage the size of a cubicle that you share with fifteen other startups. 

You reach a dark night of the soul, and you come face to face with what kind of person you are when you’re miserable and under pressure. Ideally, you acknowledge your negative emotions. You figure out how you’re going to deal with being so angry, depressed, and jealous without causing anyone harm. At the very least,  if you are going to keep going, you have to turn inward and face yourself. You need to connect with the part of yourself that wants to continue doing something difficult when so many things in the outer world—including rationality itself—seem to be against you. The part of us that stands between us and the darkness, between our rationality and the things we know that transcend rationality, this is the High Priestess.

Many people first encounter the High Priestess archetype during dark times in their lives. Until they go through those times, their lives simply don’t give them a reason to turn inward, and they have no reason to do the kind of intense contemplation that making friends with this archetype—and developing intuition—requires. If they come out of it, they will be more powerful and more intuitive and in more control of themselves than they’ve ever been, but like the High Priestess, they must do this work without tools.All they have are their will and their hands and their eyes and their gut.

With one exception.

The High Priestess’s Book

The High Priestess’s only tool is a book. Why this exception? The reason for this comes back to the dictionary definition of intuition, which is so deeply connected with “contemplation.”

Contemplation in most usages is just another word for thinking, but it also has a deeper meaning. In Druidry and some branches of Christianity, contemplation is a meditative act that is often assisted by reading sacred texts. This practice is sometimes called lectio divina, which translates as “divine reading.”

Divine reading is another gateway to developing intuition, one that is not quite as soul-tearing as the dark night of the soul. Engaging in that “silent dialog between me and myself” is difficult when you’re first starting out, and it can help to start by having a silent dialog between yourself and a book. 

In divine reading, you turn your attention to a passage from a sacred text or poem, and after you’ve read it once, you go back and turn your attention to word or phrase or sentence that draws your attention. You don’t try to justify your decision rationally. You just go with the thing that stands out to you. And you think about the passage for a long time. If you think about it long enough, you find that you are, eventually, no longer dialoging with the book at all but dialoging with yourself. If you allow the dialog to go on long enough, you usually discover the reason why you chose that passage in the first place. Even if the reason for your choice remains mysterious, the decision to honor your intuition enough to act on it be an essential first step in learning to hear and work with your intuition. 

The High Priestess in Divination

Like the Magician, the High Priestess is a beginner. She stands at the door of intuition. She accesses the waters of intuition behind her—and their attendant goddess—remotely, through the moon on her head and the book in her hands. Some come to her and ask her mediate between them and the Dark Goddess, but she knows there is only so much help they can get from the outside, and so she directs them back to their own wisdom.

As diviners, it is essential that we have a working relationship with intuition. Intuition tells us which cards to read or stones to throw. It guides us to the most important areas of a birth chart to focus on, and it tells us that this interpretation of a card is right and not that one, but there are times when intuition itself is the answer. There are times when a reading refuses to give answers and redirects our clients—or ourselves—to that deep inner knowing. 

“Know yourself,” the High Priestess says. “Trust yourself.“

When you work with the High Priestess while doing divination, you are fundamentally alone. When you are learning her lessons, circumstances will conspire to make sure that you have a lot of alone time, or you may find yourself withdrawing into the darkness to commune with yourself. Don’t fight it. Darkness and quiet and solitude are necessary to begin to hear your own voice, and it is only after you have explored the dark corners of your soul that you can begin to hear the sides of yourself that rule your intuition and speak without words. 

This post was originally published on Aquarius Moon Journal on 21 February 2020.