#Holland Greco

[leatherpearlslace]

[atomic-chronoscaph]

Fantasia: The Pastoral Symphony - Concept art by James Bodrero, Fred Moore and Sylvia Holland (c.1939)

[billyjoelmutt]

United Universes Special Concert 2024! Halloween! Run Get Away!!

Just then a Pink dog came running on the stage!!! "Everyone this is emergency!! We need to get away from them all!!!! Start the music!!!!!" the stage then was like running away!!!!! As then she started singing and Scooby Doo villains appeared reaching out to the crowd!!!

Pinky Dinky- "Woah, get away, get away, yeah!!!!

Woah, get away, get away, yeah!!!!

Woah, get away, get away, yeah!!!!

Woah, get away, get away, yeah!!!!

What can you do When the spooky goons are coming for you!!!

If they catch you, then you know you're through You keep on running cos you're out of time.

Hey, can't you see That there's creepy creatures coming for me!

I'm so scared that I can't even scream So I'm running cause I'm out of time.

Woah, get away, get away, yeah!!!!

Woah, get away, get away, yeah!!!!

Woah, get away, get away, yeah!!!!

Woah, get away, get away, yeah!!!!

Where can you hide And be sure you're safe and sound for the night?

I can see you shaking, shiver with fright Keep on running cause you're out of time.

I gotta go Or it's curtains, it's the end of the show

If they catch me, then that's all she wrote They're right behind me now

I know there's something coming So I gotta keep on running, uh huh

Run, get away yeah! Run, get away yeah!

Woah, get away, get away, yeah!

Woah, get away, get away, yeah!

Woah, get away, get away, yeah!

Woah, get away, get away, yeah!

Run, get away yeah!

Run, get away yeah!

Run, get away yeah!

Woah, get away, get away, yeah.!!!

The crowd was going nuts as this was honoring Scooby Doo through and Through!!!!! :)

@thelittlemermaidfan1989

@mellowwpopper

@teen-lyoko-fan7777

@goldmudder

@andy-squirrel-and-friends

@askdj-timelord2

@keirastarlightdraconequus

(Credits to Scooby Doo, Holland Greco, and creators of images and videos)!

[that-cunning-witch]

Know any good sources on Celtic (specifically Gaulish practices)? I know it’s not your area, but you seem like someone who might know some people who dabble in that sort of stuff. The area I live in has some celtic archeological sites, but sadly not much is known about the local religion or culture. I am trying to put together a Romano-Celtic hearth cult, but it’s difficult finding practices and deities that feel right.

Gaul is a larger Celtic area of Western Europe (modern-day France and parts of modern-day Belgium, Germany, and Northern Italy). I say this because the Celts, when invaded by Rome, took in a lot of Roman religion including Hellenic and (rarely) Kemetic beliefs as well. When the Celts did this, so did the Gauls.

If it helps at all, the specifics you're looking into is called Gallo-Roman, which is part of the larger Romano-Celtic area.

This selective acculturation manifested in several ways. One of the main ways we see this is with the melding of Greco-Roman deities with Gaulish (Celtic) deities. Gaulish epithets for Roman gods (Jupiter Poeninus) and Roman epithets for Gaulish gods (Lenus Mars). Roman gods were given Gaulish god partners (Mercury and Rosmerta & Apollo and Sirona). Towards the east of the Gauls, many mysteries were formed, including one for the Greek hero Orpheus, the Iranian (or Persian) god Mithras, and the Egyptian goddess Isis. In other words, a whole lot of syncretism.

When it came to the Gauls (and the Celts overall) a main part of their belief system was the heavy use of animal imagery. More specifically, zoomorphic deities. However, we see a lot more human-looking representations of the gods because the Romans (and Greeks) weren't too keen on the idea (see Greco-Egyptian).

As for specifically Gallo-Roman hearth religious beliefs, the Lares (Lar singular) is a good place to start. They're the equivalent of Agathos Daimon in Greek religion (Hellenism). Essentially, they're personal household deities that are connected to the hearth.

A majority of the information we have about the Gaelic culture and the eventual melding of the Gallo-Roman culture stems from two sources: artifacts and Julius Ceasar, who wrote all about in what we now call the "Commentarii de Bello Gallico". The gods that he mentions the Gauls worship (like Jupiter, Mercury, Mars, and Minerva) aren't really the Roman gods that the Gauls are worshipping at that time but rather the closest thing Ceasar can connect. For example, Caesar may say that the Gauls worshipped Mars, when in reality they were worshipping Lenus, a healing god that quickly became associated with Mars because of Caesar and the Roman Empire. However, not all of them were caught. Gobannus is the most well-known example we have, with him being the equivalent to the Roman god Vulcan or the Greek god Hephaestus and yet Caesar makes no comment on the Gaulish god.

One other thing, the specific time we are taking a look at was prior to the overtaking by the Anglos, Saxons, and Jutes (aka pre-Anglo-Saxon times). Because of this, Germanic (Norse) gods weren't known to these people yet. Odin, Thor, and Freyja were unknown to them at this point in time.

Other than that, the last thing I can give to you are articles and books that I stumbled upon that may pique your interest. I do recommend a couple of Wikipedia links, but just know that I recommend using Wikipedia as a jumping-off point. Hope this helps! :^)

Becoming Roman: the origins of provincial civilization in Gaul -- Greg Woolf https://archive.org/details/becomingromanori0000wool

The gods of the Celts -- Miranda Green https://archive.org/details/godsofceltsar00mira

Gallo-Roman Religious Sculptures -- A.N. Newell https://www.jstor.org/stable/640758

Fifth-Century Gaul: A Crisis of Identity? -- John Drinkwater & Elton Hugh https://www.loc.gov/catdir/samples/cam031/91018375.pdf

Caesar's Commentaries on the Gallic War: literally translated -- Frederick Holland Dewey, A.B. https://archive.org/details/caesarscommentar07caes

Category:Gaulish gods -- Wikipedia https://en.wikipedia.org/wiki/Category:Gaulish_gods

Category:Gaulish goddesses -- Wikipedia https://en.wikipedia.org/wiki/Category:Gaulish_goddesses

sources: https://bmcr.brynmawr.edu/1999/1999.10.34/ http://www.deomercurio.be/en/dii.html https://www.britannica.com/topic/Celtic-religion/The-Celtic-gods https://en.wikipedia.org/wiki/Lares https://www.britannica.com/topic/Lar-Roman-deities https://en.wikipedia.org/wiki/Gallo-Roman_culture https://en.wikipedia.org/wiki/Gallo-Roman_religion

[apilgrimpassingby]

Actually enslaving people is wrong because it’s a fucked up thing to do, and for centuries Christian’s didn’t get the memo on that one so realizing it’s a fucked up and horrible thing to do doesn’t come from ‘Christian ethics’

Also your blog is a complete eyesore

Slavery is f*cked up? That would have been news to the Greco-Roman world, many African societies throughout history, the Chinese well into the 20th century, the Ottoman Empire and most other Muslim societies, India in many periods of its history, the Norse, many Native American peoples and quite a few people today.

Slavery is so abhorrent to us that we don't realise that the correct question isn't "why does a given society have slavery"? Having slavery is the default for societies. Rather, we should ask why we don't have it.

Christianity, in large part.

Gregory of Nyssa, 4th century bishop and theologian, was the first known person to propose the abolition of slavery. While the other Church Fathers saw that as a pipe dream due to how pervasive it was, they almost all thought that slavery was a symptom of a fallen world and would disappear in the New Creation (and it largely did in the Byzantine Empire, the heartland of eastern Christianity). Whereas to the Greeks and Romans it was just an inherent and indisputable fact of life.

Over in the West, the Norse slave trade was primarily opposed by Christian clergy, and mainly on the religious grounds that it was immoral to treat fellow Christians like this (keep in mind that in their ideal world, everyone would be Christian). When slavery was revived by the Spanish, it was consistently opposed by a Dominican friar, Bartolomé de las Casas, using arguments based on the image of God and the works of Thomas Aquinas. When the Spanish crown agreed to a debate on slavery between him and fellow clergyman Juan Ginés de Sepúlveda, Casas stuck to his arguments from the Christian tradition and Sepúlveda primarily argued from Aristotle.

With the transatlantic slave trade most people are familiar with, the opposition primarily came from Quakers and Evangelicals using arguments based on the image of God in all people. And they eventually succeeded, and Britain hence used its naval muscle to suppress slavery in the colonies and coerce the Ottomans into abolishing it; the sense this created of an Islamic institution being uprooted by foreign infidels led to the rise of Islamic fundamentalism (as such, it's hardly surprising that Islamic State have reinstituted it).

Whenever I have not provided a link, it came from one of the following three books, chiefly the first of them - Dominion: The Making of the Western Mind by Tom Holland (the classicist, not the actor), A Brief History of Life in the Middle Ages by Martyn Whittock and The Bright Ages: A New History of Medieval Europe by David M. Perry and Matthew Gabriele.

I agree my blog could probably do with more of a visual component. If anyone has any suggestions please let me know.

[kaori-pecoco]

昭和のCMでMusic Videoを制作してみました。👩🏽‍🦱♬.*ﾟ

[gogmstuff]

1790s dresses - Some dresses belong in the French court of Marie Antoinette while others show Greco-Roman influence.

Top  1790 Marianne Dorothy Harland, Later Mrs. William Dalrymple by Richard Cosway (location ?). From tumblr.com/sims4rococo76; fixed edges, sots, & flaws w Pshop 1280X989.

Second row  1790 Presumed portrait of the Marquise de Lafayette by Adélaïde Labille-Guiard (National Museum of Women in the Arts - Washington, DC, USA). From Wikimedia 2564X3175.

Third row  ca. 1790 Marquise de Grécourt, née de la Fresnaye by Jean Laurent Mosnier (auctioned by Christie's). From their Web site 951X1186.

Fourth row  1791 Mme. de Genlis playing a harp by François Guérin (location ?). From books0977.tumblr.com/image/88627828797 797X900.

Fifth row  1794 Catherine Grey, Lady Manners by Sir Thomas Lawrence (Cleveland Museum of Art - Cleveland, Ohio, USA). From their Web site 2774X4495 @150 14.1Mj.

Sixth row left  1794 Elizabeth Holland avec son fils by Louis Gauffier (Musée Fabre - Montpellier, Hérault, Occitanie, France). From Wikimedia 2739X3483.

Sixth row right  1795 Elizabeth, Lady Webster by Louis Gauffier (Christie's -  Live auction 14277 Lot 51). From their Web site. From their Web site; fixed spots & flaws w Pshop 4026X3032.

Seventh row  ca. 1795 Anne, Duchess of Cumberland by Sir Martin Archer Shee (private collection), From tumblr.com/fashion-inspiration-s; fixed spots w Pshop 2048X2852 @72 984kj.

Eighth row left  1795 Madame Fravega by Antoine-Jean Gros (Musée des beaux-arts de Marseille - Marseille, Bouches-du-Rhône, Provence-Alpes-Côte d'Azur, France). From Wikimedia; fixed spots w Pshop and cropped 1544X1555.

Eighth row right  ca. 1796 Madame Boyer-Fonfrède and Son by François-André Vincent (location ?). From tumblr.com/silverfoxstole; fixed spots & blurred background w Pshop 730X888.

[lamilanomagazine]

Mostra del Cinema di Venezia, 'Poor Things' di Yorgos Lanthimos vince il Leone d'oro

Mostra del Cinema di Venezia, 'Poor Things' di Yorgos Lanthimos vince il Leone d'oro. A vincere il Leone d'oro della Mostra del Cinema di Venezia 2023, il film 'Poor Things' del regista greco Yorgos Lanthimos. Ad assegnarlo la Giuria di Venezia 80, presieduta da Damien Chazelle e composta da Saleh Bakri, Jane Campion, Mia Hansen-Løve, Gabriele Mainetti, Martin McDonagh, Santiago Mitre, Laura Poitras e Shu Qi, dopo aver visionato i 23 film in competizione. Matteo Garrone, con il film 'Io Capitano', si è invece aggiudicato il Leone d'Argento per la migliore regia. "Questo film racconta la storia di una creatura meravigliosa e non esisterebbe senza Emma Stone che è un'altra creatura meravigliosa. Questo film è suo, senza di lei non esisterebbe", ha detto il regista greco Lanthimos dopo la premiazione. "Grazie al festival di Venezia - ha aggiunto - che ha accettato questo film. Per realizzarlo ci sono voluti un po' di anni e abbiamo atteso che l'industria cinematografica fosse pronta per accoglierlo. Il cast non può festeggiare ora il premio e speriamo di poterlo fare il prima possibile tutti insieme. Il mio augurio è che presto si risolva lo sciopero di Hollywood, è nell'interesse di tutti". La Coppa Volpi per la migliore interpretazione maschile dei film del concorso principale della Mostra è stata assegnata all'attore statunitense Peter Sarsgaard protagonista del film 'Memory' di Michel Franco. La Coppa Volpi per la migliore interpretazione femminile è andata quidi all'attrice e cantante statunitense Cailee Spaeny per il film 'Priscilla' di Sofia Coppola. Il film giapponese 'Aku wa sonzai shinai (Il diavolo non esiste)' di Ryusuke Hamaguchi si è aggiudicato il Leone d’Argento – Gran Premio della Giuria. A guadagnarsi il Premio per la Migliore Sceneggiatura è Pablo Larraìn e Guillermo Calderòn per il film cileno 'El Conde' diretto dallo stesso Larraìn. Il film 'Zielona Granica (Green Border)' della regista polacca Agnieszka Holland si è aggiudicato il Premio Speciale della Giuria del Concorso. Il film ungherese 'Magyarázat mindenre (Explanation for everything) di Gábor Reisz ha vinto il Premio per il miglior film della sezione Orizzonti. A decretarlo la giuria di Orizzonti, presieduta da Jonas Carpignano. L'esordio alla regia di Micaela Ramazzotti con 'Felicità', proposto nella sezione Orizzonti Extra della Mostra di Venezia, ha ricevuto il Premio degli Spettatori - Armani Beauty. Il regista romano Enrico Maria Artale si è aggiudicato il Premio per la Migliore Sceneggiatura della sezione Orizzonti con il film 'El Paraíso', diretto dallo stesso Artale. L'attrice, cantante e presentatrice televisiva colombiana Margarita Rosa De Francisco si è aggiudicata il Premio per la migliore interpretazione femminile della sezione Orizzonti della Mostra di Venezia per il film 'El Paraíso' del regista romano Enrico Maria Artale. 'Una sterminata domenica' del regista di Ardea (Roma) Alain Parroni ha ricevuto il Premio Speciale della Giuria Orizzonti. Il Premio Marcello Mastroianni, dedicato a un giovane attore emergente, della Mostra di Venezia 2023 è andato a Seydou Sarr per il film 'Io Capitano' di Matteo Garrone.... #notizie #news #breakingnews #cronaca #politica #eventi #sport #moda Read the full article

[liesmyth]

The Once and Future King

never heard of | never read | want to read | terrible | boring | okay | good | great | a favorite

Haven't read! It's one of those English Language Classics I'm missing because they weren't as popular here to still be around unless you went looking for them, and I was more of a Greco-roman Mythology Obsessed Baby Reader. The first arthuriana I read was Kevin Crossley-Holland's Arthur Trilogy, and unfortunately MZB. And the first 3 of the Pendragon cycle later on, but I'm missing The Once and Future King! ty for reminding me *adds to tbr*

[book asks meme]

[aboutanancientenquiry]

A Historian for All Time

“Herodotus: A Historian for All Time

As a new translation of the writings of the ‘father of history’ is published, Paul Cartledge looks at the methods of enquiry that make the Greek master such a crucial influence on historians today.

Paul Cartledge Published in History Today Volume 63 Issue 10 October 2013

Tales of war: A detail from the fourth-century bc Sarcophagus of Alexander shows a Persian horseman killing a Greek warrior

In the beginning was the word – historiê, ‘enquiry’ or ‘research’: the word used by the West’s first historian in order to describe both his method and his achievement, his ergon (‘deed’). Herodotus of Halicarnassus was born in or about 484 BC. The Greek city of Halicarnassus (modern Bodrum) was then a subject of the mighty Persian empire, which had been founded some two to three generations earlier by Cyrus II and by now stretched from the Punjab to the Aegean.

Halicarnassus was itself originally a foreign implant, settled by Greeks from the Peloponnese at the turn of the last millennium BC, among the non-Greek, ‘barbarian-voiced’ Carians, as Homer had called them in the second book of the Iliad. Herodotus’ own immediate family indeed bore Carian or Carian-inflected names. Happily, though, Herodotus (‘Gift of Hera’) proved to be one of the Greeks least infected by the sort of virulent anti-barbarian prejudice that was fanned by the subject he made his own life’s work: the Greco-Persian Wars of 480 and 479 BC and their more immediate origins.

Herodotus’ declared aim in his preface was to ensure:

That human achievement may be spared the ravages of time, and that everything great and astounding, and all the glory of those exploits which served to display Greeks and barbarians alike to such effect, be kept alive – and additionally, and most importantly, to give the reason they went to war.

At least that was his aim according to a new translation of the entire Histories by Tom Holland (Allen Lane). He is well known to ancient historians as the author of Persian Fire, his history of the Greco-Persian wars. But for this absorbing new translation of Herodotus, a project that can be traced back to the excitement of his ten-year-old self after discovering a two-volume translation, Holland had to get his Greek up to a sufficient level of competence to cope with the peculiarities and quiddities of a prose dialect (Ionic) that is both idiosyncratic and not the standard Attic. It was my eagerly undertaken task to vet (and annotate) his translation, from the standpoint of a professional classicist who has been reading Herodotus in the original Greek since the age of 19. In my view, Holland’s is a powerful rendering that allows all the drama and mysteriousness of this great book to be fully appreciated by modern readers.

Holland has returned to Herodotus many times since he was ten and never once been bored by him. Indeed few history books written since can compare for sheer drama with Herodotus’ narrative of the Persian invasions of Greece, and the Histories contains much more than that besides; all human life is there. For Herodotus was an endlessly curious man and gathered information about the world around him from as many people and places as he could investigate. The history of events was only the beginning of his interests. Whether it was the pyramids of Egypt, the cannabis habit of the Scythians, the flora and fauna of Arabia or the table dancing of the Athenian aristocracy, he was fascinated by them all. To this day phrases derived from the Histories – from ‘rich as Croesus’ to ‘tall poppy syndrome’ – are part of the mental furniture even of those who have not read him. Sometimes he is sceptical and sometimes credulous, but his love of recounting what he has learned and his insistent desire to communicate that love never cease.

Above all, as Holland says in his translator’s preface, ‘Herodotus is the most entertaining of historians. Indeed, he is as entertaining as anyone who has ever written – historian or not. It is hard to think of another author of whom the same could be said, let alone one who wrote almost two and a half millennia ago.’ Herodotus, Edward Gibbon wisely opined in a footnote to the Decline and Fall, ‘sometimes writes for children and sometimes for philosophers’. And also, thank goodness, for everyone in between.

Here is but a small, suitably ‘philosophical’, sample of the new translation, taken from book 3 chapter 38 (the source text translated is the edition of Karl Hude, in the standard ‘Oxford Classical Texts’ series, first published in 1908):

Just suppose that someone proposed to the entirety of mankind that a selection of the very best practices be made from the sum of human custom: each group of people, after carefully sifting through the customs of other peoples, would surely choose its own. Everyone believes their own customs to be by far and away the best. From this, it follows that only a madman would think to jeer at such matters. Indeed, there is a huge amount of corroborating evidence to support the conclusion that this attitude to one’s own native customs is universal. Take, for example, this story from the reign of Darius. [Darius I, Great King of Persia, r. c.522-486 BC]. He called together some Greeks who were present and asked them how much money they would wish to be paid to devour the corpses of their fathers – to which the Greeks replied that no amount of money would suffice for that. Next, Darius summoned some Indians called Callantians, who do eat their parents, and asked them in the presence of the Greeks (who were able to follow what was being said by means of an interpreter) how much money it would take to buy their consent to the cremation of their dead fathers – at which the Callantians cried out in horror and told him that his words were a desecration of silence. Such, then, is how custom operates; and how right Pindar [Greek lyric poet, c. 518-447] is, it seems to me, when he declares in his poetry that ‘Custom is the King of all’.

As Herodotus well knew, the world is an infinite place, full of complexities and contradictions, and one person’s truth can just as easily be another person’s lie. Note that he did not himself pass negative judgment on the Callantian Indians’ funerary cannibalism, even though almost all Greeks would have automatically regarded that as typically ‘barbarous’ behaviour to be roundly condemned, the sort only to be expected of inferior non-Greek ‘barbarians’. It was not for nothing therefore that Herodotus’ own description of what he was engaged in should have been ‘enquiry’ – historiê. No wonder, too, that in his ‘enquiry’ he should have sought to provide a whole multiplicity of perspectives.

The sources of our information about the world are now more in flux than they have been for generations. There could be few better moments to read and reflect upon the book which first sought to organise knowledge and understanding of humankind’s deepest and most searching experiences at home and abroad, in war and in peace.

Paul Cartledge is AG Leventis Professor of Greek Culture at the University of Cambridge.”

On line source: https://www.historytoday.com/archive/herodotus-historian-all-time

[leatherpearlslace]

[buenoradio]

Funk LeBlanc - Lovestruck feat. Holland Greco (2018) [Nu Disco]

[sinmusica]

Real Love (feat. Holland Greco) por Funk LeBlanc, Holland Greco publicado en el álbum Real Love (feat. Holland Greco).

[the-antiapocalyptic-man]

Batch Update: Giganta, Abby Arcane, and Metamorpho (again)

I actually have a bunch written up for all three, but I got caught in a web of describing everyone’s weird interpersonal relationships and it was getting real long bc all of these people’s dating lives are insane

Anyway, I backtracked on Rex again and it’s a little hard to see on the belt, but he actually is on The Terrifics still, which I’m going for more of a Future Foundation instead of strictly F4.

Abby Arcane’s Avatar of Rot is just the “Black Queen” in canon (thanks Scott) so I wanted something a little punchier and went with “The Rotted Thing” instead. I also added a bit where Abby meets Alec before his death and they have an affair while both still involved with others partners, Matt and Linda, respectively. Linda’s actually super interesting because she gets fridged (later retconned to be along with Alec, obvs) in Swamp Thing’s origin and her whole character arc takes place in the afterlife, but she also went to school with Ivy bc ofc, and...idk, any other Linda Hollands out there, she lives in this AU and more on that later. Anyway, Abby eventually gets her own Avatar form from the Parliament of Decay, which is a less always chaotic evil force and more of an actual counterpart to the other parliaments.

Finally Giganta and a peek at Hermes. I mentioned earlier this was the rough draft version, so I’m still working out aspects, but I wanted to tie Doris to both Gorilla City and Themyscira. Which is great, bc you may have noticed really like combining powersets from different versions of the same character, you should see what I did to Piotr Rasputin in my Marvel AU, and I feel like Doris (Zuel being a mononym when she was a Gorilla City researcher and Doris being her chosen human name) is smart enough to both switch species and then discover size-changing. Also she’s specifically an Amazon instead of just a super-strong human, so she’s got a lot of the mystical capabilities of Amazons that get glossed over in favor of action scenes of vaguely Greco-Roman statuesque babes (thanks Zack).

Hermes is just the to complete the femcel!Knuckles joke by being her Sonic until I pick a better counterpart (maybe Jesse Quick?)

[starsandsteelandbrokenglass]

Retellings Ranked: Cinderella

As a huge fairytale fan, I read a lot of retellings, and Cinderella is a classic. Here are my thoughts on those retellings! (Please don’t come after me for rating your favorite retelling badly, reading is subjective, etc. Post periodically updated.) 

A Good Time! 

Ella Enchanted by Gail Carson Levine- We all love the movie, and the book is excellent too! Meant for a slightly younger audience, if I remember correctly, but carries a lot of the same themes as the movie, though I can’t remember exactly how close the plot follows. 

Mechanica by Betsy Cornwell- Steampunk-esque, inventor Cinderella! A move away from the focus on romance! Some social justice metaphors that are possibly more dicey than I remember but worked pretty well as far as my memory extends. Slow-paced, and does actually do some new things with the story. 

Stepsister by Jennifer Donnelly- Possibly the most interesting take on the stepsisters that I’ve seen, without villainizing Cinderella (if I remember correctly), which was neat. Wide variety of female characters so there’s not one box they’re put into, which is a good time. 

Pros/Cons

Ash by Malinda Lo- WLW Cinderella! Love to see it! And reasonably well done. My biggest problem with this one was that it felt like it could’ve been a lot more fleshed out in almost every aspect (characters, world, plot). But it was still a good read, very classic, had good themes and messages about love and grief. 

Cinder by Marissa Meyer- First in a series, of which I actually preferred some of the later books. Cybernetic Cinderella, which is very cool, and blends fairytales with sci-fi in extremely neat ways. Does not do a great job with diversity, but does sort-of try.

Cinderella is Dead by Kalynn Bayron- Another sapphic Cinderella! Love the take on fairytales (and stories more generally) as propaganda, and a good variety of complex female characters! A bit heavy-handed on the anti-patriarchy messaging, but sometimes, you gotta be.

I Don’t Remember Anything, But I Gave it 3/5 Stars

Before Midnight by Cameron Dokey- Arguably belongs in the category above because I actually rated it 4/5 stars but I truly remember nothing. I enjoyed it I guess. 

...Pass

The Ugly Stepsister by Ava Ling- Honestly I don’t remember much about this, but I only rated it 2 stars. Pretty sure the characterization was flat and the concept kinda cheesy, which can work, but didn’t here. 

Sinful Cinderella by Anita Valle- This is largely on me because I knew I wouldn’t like this and I definitely only read it because it was free on iBooks and I didn’t have access to any new physical books while I was abroad. Anyway, Cinderella is edgy and Bad I guess. So is this novella. 

The Captive Maiden by Melanie Dickerson- Cinderella but with Christian heavy themes. In this category partly for being kinda heavy-handed with the “God is the answer” moral but honestly mostly for doing pretty much nothing new with the story. 

The Stepsister’s Tale by Tracy Barrett- Barrett shows up with some frequency on my retellings list and never seems to make it very high. Sorry, ma’am, I think your style just might not vibe with me. I remember this mostly being boring. And pushing the role reversal a little too hard. (Though we do love to see eventual female solidarity.)

Confessions of an Ugly Stepsister by Gregory Maguire- I do really like the idea of putting fairytales into real historical settings and 17th century Holland is a cool and unusual place to do it. But I wasn’t comfortable with the way mental illness was handled and honestly none of the characters were that interesting :(

Want to see more of my thoughts? Check out Retellings Ranked: Greco-Roman Mythology, Snow White, Beauty and the Beast, Sleeping Beauty, Classic Literature