#I have a few other feminist theory books to read | Explore Tumblr posts and blogs

thatscarletflycatcher · 6 months ago

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can you tell me what your thesis is about if you're willing to share??

Hi!!! Yes, of course! I need to go over and over the description of this thing in order to turn in a precise and compelling project for the board (attempt #3 at finishing this cursed degree, here we go! *sobs*).

My area of interest has always been Medieval Philosophy, Metaphysics, Ethics, Virtue Ethics and Aristotelian Ethics-Politics. My very first attempt was writing something on Metaphysics (transcendentals) then Ethics Metaphysics (the role of intellectual intuition in moral reasoning in Aristotelian Ethics, Book VI of the Nicomachean Ethics)... Neither worked mainly because a problem when talking metaphysics is... well, there's few words to use and little to say and I have always been a very succinct academic writer (yeah, I know, but it is true).

When I reached acceptance about that XD I moved on to trying something about Aristotelian Ethics-politics. Alasdair MacIntyre is a key author in that area, and he's a favorite of mine because in agreement or disagreement he's thought provoking, he has a sense of humor, and he's a hater of the fun kind. I know it isn't proper to call or pick academic authors because they are fun, but hey, he is. He is a curmudgeonly old man (present tense: he's 95), who kind of manages to disagree with everyone because he hates being put in boxes, but he's also always been very willing and open to listen to other voices and change his opinions on things.

For example, the refinement and reformulation of many ideas between his After Virtue (1981) and his Dependent Rational Animals (1999) came (declaredly) through a reading of certain feminist theory, which brought to the foreground to him how little academic Ethics had focused until that point on disability and caretaking.

He's also always been a versatile author in the sense of breaching the barriers between disciplines for the purposes of philosophical inquiry -After Virtue has a great deal to say about Sociology, and Dependent Rational Animals talks a lot about dolphins XD.

I decided I wanted to write something about this guy, but I got stuck because if you are writing on an author specifically, alone, how do you manage to write something that isn't like, textbook regurgitation? Theoretically I know it is possible, but it was very paralyzing to me all the same.

Enter Elizabeth Gaskell with a steel chair.

I love Gaskell dearly for many different reasons. I love the way in which she writes nuanced, believable, textured characters. I love the treatment of grief in her work, I love the compassion she has for her characters, I love how she makes interesting, central, and natural relationships between parents and children. I love that she's versatile too, and that she saw writing as a vocation, and how she manages to talk about so many different things in a novel without making it come across as didactic or preachy. But one very special thing that has called my attention is her specific interest in communities, and community building through friendship.

Very often her "proposals" of "solutions" to social problems, specifically in her industrial novels, have been dismissed as the utopian sugary pap of learning to share and be nice of someone completely out of touch with reality, but I think those readings are fundamentally missing the framework that makes her ideas make sense and be solid.

As an aside, I feel like that ungenerous reading is kinda rich when Hard Times and its "imagination to power!" concept or Shirley and its marriage solution keep getting praise to this day. You know. It comes across as a bit double standard-y, if you ask me.

But back to topic, guess who did consider friendship, understood as the ties that unite virtuous people in the pursuit of the good for themselves and their fellow men, the very foundation of society, and mankind as essentially social, and therefore for ethics and politics to be a continuum? That's right, my boy Aristotle!

And to that, between other things, when talking about the Aristotelian tradition of Ethics Politics, MacIntyre adds teleological narrative as the element that frames and anchors virtue ethics in this scheme. What is more, he dedicates A CHUNK of chapter 16 of After Virtue to Jane Austen, and why he thinks she's "the last key representative" of this tradition (which has sprung a non negligible amount of scholarship on Austen and virtue ethics).

And I'm persuaded that Gaskell is a significant successor to Austen in this way too, and that the certain sympathy people often perceive between them comes from this aspect (because, in all honestly, it's clearly not about tone or style).

So that's the aim/core of my thesis: to present/analyze/contextualize Gaskell's work within the framework of the Aristotelian Ethics-Politics tradition as understood by MacIntyre.

Of course because I am, in Nelly Dean's description of Edgar Linton, a venturesome fool, this is clearly very ambitious, and I am making it worse for myself by doing things like harvesting circa 350 titles for a thesis that won't require more than 50 and that cannot be more than 80 pages long. The clown shoes can be heard from the other side of the world no this has nothing to do with the fact that I don't think I'll ever get a masters or a PhD where I might be able to develop this concept beyond a very summary overview of N&S and maybe Cranford and My Lady Ludlow if I'm lucky.

And that's how I should have sent something to my advisor three weeks ago (I haven't yet) and how I'm half agony half hope about the whole thing, because I'm scared and anxious and full on rowing through Nutella executive function wise. Maybe I should get a rubber duck.

#ask #elizabeth gaskell #alasdair macintyre #batrachised #thank you!

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yurimother · 2 years ago

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Yuri of Absence and The Chair of Yuri: Combining Lesbian Manga and Science Fiction - The Secret Garden

This article was originally written in 2021 as part of The Secret Garden, YuriMother's exclusive series of articles, available only for Patrons. If you want to access other articles and help support Yuri and LGBTQ+ content, subscribe to the YuriMother Patreon.

In the “olden days” of Yuri, which is really to say anything in the ‘00s or earlier, there was not much variety in the mainstream Yuri market. If you wanted to read a manga about the romance between two women or watch an anime with clear lesbian elements, choices were between a sweet school story or a classic tragic school Yuri story. As I have mentioned many times recently, one of the most significant advancements in the recent Yuri genre is the advent of sub-genres. Once considered an element or subgenre itself, Yuri hosts various works from isekai to feminist literature. However, one of the most curious and certainly most well-known subgenres is science fiction.

Yuri science fiction is in the spotlight right now, with everything from visual novels like Synergia to webcomics like Ratana Satis’s Soul Drifters. However, one of the most prolific and rightly celebrated titles is Iori Miyazawa’s Otherside Picnic. The series began publishing under Hayakawa’s Bunko JA imprint in 2017, and over the past few years, it exploded onto the scene. It has an upcoming sixth book, a manga adaptation serialized in Monthly Shounen Gangan, healthy overseas publishing, and of course, an anime adaptation helmed by Kase-san and Stiens;Gate director Takuya Sato. It has garnered praise from critics CBR, Anime News Network, and Erica Friedman of Okazu. I wrote glowing reviews for the first few books, complimenting its worldbuilding, pacing, and characters. However, Otherside Picnic did not spring out of anywhere. Indeed, it is the product of gradual shifts in Yuri and sci-fi storytelling and Miyazawa’s genius theories and knowledge of the genres.

The mixture of Yuri and science fiction is not anything new; it predates most other forms of Yuri save Class S school romances. You may not picture many of these when you think of modern Yuri sci-fi, but as early as 1975, we had Yuri stories like Boku no Shotaiken that included small sci-fi elements, in this case, transferring the mind to another body. Over the next two decades or so, a time during which so few Yuri titles surfaced, it is occasionally referred to as Yuri’s “era of Darkness,” multiple titles sci-fi titles including Dirty Pair, Project A-Ko, Bubblegum Crisis, and Iczer featured science fiction settings and Yuri elements. At this time, Yuri was not much of a genre as we think of it today, but more of a factor inserted into a larger narrative. Think of Yayoi and Shion from Psycho-Pass for a more contemporary example. In fact, except for Iczer, none of these titles feature any outright lesbian characters, just female casts with “Yuri-ish” moments of women standing close together and being companions.

These titles feature two key elements that many current series have shifted further away from, soft sci-fi and Weak Yuri. Soft, as opposed to hard science fiction, is the more established of these two scales. Science fiction can be separated between outlandish and impossible ideas, sometimes known as science fantasy, and those based in reality, research, and the hard sciences such as physics, astronomy, and mathematics. Sorting works between these two labels is, ironically, not an exact science, and fans and critics alike argue about their precise definitions. However, let us consider soft and hard science as a spectrum, with outlandish premises like Dragonball on the soft end and the reality-based concepts of Space Brothers at the other. One can sort most titles along this continuum. M Alan Kazlev does an excellent job dissecting this scale in further detail. Many of the titles we enjoy today, including Otherside Picnic, inhabit this transitory space, as it is not fantasy. Still, its reliance on anthropology and psychology’s soft sciences may put it a small step below more grounded hard sci-fi. Still, it is far above the aliens and superpowered robots in ‘80s anime, so we shall consider it hard sci-fi for the sake of this argument.

*Note: Many science fiction circles use the abbreviation sci-fi for soft science fiction and SF for hard science fiction. For ease of readability and common vernacular, this article uses “sci-fi” for both instances.*

Sci-fi Yuri did not break out of soft science fiction territory until very recently. In the 1990s, Yuri underwent dramatic changes thanks to Sailor Moon and Revolutionary Girl Utena, which helped reform it as a genre rather than a feature. Maria Watches Over Us revived S Yuri traditions, and new titles were set in schools and focused on modern girls’ lives. In the 2000s, Yuri magazines began serialization and featured stories such as Kisses, Sighs, and Cheery Blossom Pink and Strawberry Shake Sweet (both serialized under different names). Despite being primarily aimed at adult women, the magazine found success with male audiences, prompting new stories appealing to men and boys. These works reintroduced action and science fiction into the genre with pieces like Kannazuki no Miko: Destiny of the Shrine Maiden, Blue Drop, and Kashimashi: Girl Meets Girl (Yuriboke does a better job breaking all these down). However, all these were still vehemently in soft sci-fi territory, with Kashimashi’s only surreal element being an alien because the author was, to simplify grossly, unable to fathom the existence of transgender people (coming full circle from Boku no Shotaiken). Possibly the only contemporary mainstream hard sci-fi title to include Yuri and enjoy a modicum of success was Qualia The Purple. However, this series did not have the genre-defining power that later works would.

However, what changes between these series and those mentioned earlier is the Yuri itself. The relationships become much more explicit and central to the plot. You can deliberate whether or not Bubblegum Crisis is sapphic, but just try sitting someone down and arguing that Kannazuki no Miko is not built around the crux of two women holding romantic interest in each other. Yuri science fiction author Gengen Kusano proposes a dichotomy similar to soft and hard sci-fi to analyze these titles, Weak and Strong Yuri. He explains it in his own brilliantly convoluted and philosophical way, but in short, Weak Yuri relies on using logic and the mind to make the real imaginary, while strong Yuri is about emotionalism and realism, making fiction into reality.

Strong Yuri is Yuri that focuses on realism through feelings and emotions. Kusano describes it as fiction characters having real emotions. They have strong connections and affection for each other that are real and powerful. The audience experiences the feelings between the characters as they are felt and portrayed. Think of how emotional the exclamations and love, sorrow, confusion, and affection are in titles like Bloom Into You and Citrus. In a sense, they can be so strong that they transcend their fictional confines and become real, as they are experienced by considers, a stage called “radically Strong Yuri.” Most explicit Yuri, which is not subtext or suggestive content but in-your-face lesbianism, is Strong Yuri, although not all Strong Yuri is outright depictions of lesbianism; it is a square rectangle situation, not all rectangles are squares, but all squares are rectangles.

Weak Yuri is cemented in the areas of thought, logic, and epistemology. It deals with the theory of mind, the ability to attribute mental states to others or ourselves. For example, when we see someone smiling or laughing, we may not feel their emotion ourselves, as we do not have direct access to their mind, but we recognize that they are happy. In Weak Yuri, one uses their theory of mind to observe facts and deduce the existence of a Yuri relationship, even if one is not present. So-called “Yuri-ish” titles like Yuru Camp or K-ON! do not outright state or depict romantic or sexual attractions, but is attributed by the viewers onto characters. Said observer witnesses the interactions between girls and, using that factual and observable data, puzzles out a lesbian attraction they prescribe to the subjects, whether real. Shipping culture relies on Weak Yuri’s logic Kusano’s most extreme, “Radical Weak Yuri,” the relationships of real people, like idols, become imaginary through these projections.

Blue Drop and Kashimashi may have been soft Sci-fi, but unlike the soft sci-fi, Weak Yuri series of the twentieth century, they featured Strong Yuri and placed it more as a central aspect of the work with other elements built around, rather than as a side element. The next revolution in sci-fi Yuri came when hard sci-fi titles began production. A few of the principal players here are Kusano himself, Otherside Picnic Creator Iori Miyazawa, and editor Rikimura Mizoguichi, all of whom feature in the viral Yuri Made Me Human interview of Miyazawa. Most of the theories and ideas discussed in this article, including Kusano’s Weak and Strong Yuri arguments, came from these seminars.

It all started with Kusano’s existential widescreen Yuri baroque proletariat hard sci-fi Love Live AU fanfic of the popular ship NicoMaki, consisting of Nico Yazawa and Maki Nishikino. The revised edition of this story, Last and First Idol, was published in 2016 and became the first debut title to win the prestigious Seiun Award in 42 years. Satoshi Maejima’s post-script essay at the end of the Last and First Idol collection gives far more detail into these works’ history. However, Idol was the first prominent story to feature Yuri in a hard sci-fi narrative. It was not perfect. In fact, in its push to feature gruesome content and insane hard sci-fi that Yuri is pushed to the wayside during most of the story.

*Author’s note: The first time I read Last and First Idol, I was completely unaware of its contents, which was a shocking experience; the story comes with a severe content warning).

Last and First Idol did not create a woven hard sci-fi, Strong Yuri narrative. However, it was a definite proof of the concept, a testament that the sprawling details and imagery of hard Sci-Fi could work with Yuri relationships. Kusano’s next short story, Evolution Girls, which would appear alongside Last and First Idol in the collection of the same name, saw the author focus more on emotionalism and create a Strong Yuri work. Nevertheless, Last and First Idol was a massive success. Future hard proof that Yuri hard sci-fi was coming in force came in December 2018, when Hayakawa Shobo ran a special edition of its long-running S-F Magazine featuring Yuri stories. The issue, planned by Rikimura Mizoguchi, proved so popular for the second time in its then 59-year history, the magazine had to reprint before release.

While Kusano was developing theories on Yuri and Hayakawa Shobo worked to push the public eye onto Yuri sci-fi, author Iori Miyazawa was refining his own Yuri premises, ones that, though he did not know it at the time, would not only see Strong Yuri and Hard sci-fi standing side by side in the same story but would synthesis the two into a unique product that could attract new fans and expand the borders of science fiction and Yuri. The work in question, of course, is Otherside Picnic. This light novel series about girls journeying to another world to hunt creatures from occult internet lore is to date Yuri science fiction’s best execution.

As Miyazawa admits, he strives to create Strong Yuri by focusing on emotionalism and realistic characters. However, such character-driven narratives are often at odds with hard science fiction, which requires dense walls of text to explain the complicated science behind its concepts and world. Miyazawa avoids this trap by utilizing Yuri tropes, specifically scenic Yuri and “Yuri of absence,” and integrating Yuri relationship into these explanatory literary lectures. Examining the latter first, rather than using narrative or exposition dialogue to unravel the intelligence behind the world or elements of science fiction, Miyazawa uses the relationship between Sorawo and Toriko.

In Otherside Picnic, explanations of the mysterious Otherside come primarily from two sources, dialogue and Sorawo’s inner monologue. When Sorawo and Torikko discuss a nuance of the paranormal creatures they investigate, it no longer becomes a large infodump but a Yuri scene about their relationship through their interactions and responses. According to both the strong Yuri theory and Yuri’s traditional definition, these emotions and discussions are the crux of the genre – stories about females’ relationships. Similar emotionalism fills Sorawo’s inner monologues, specifically in the frequent romantic admirations of Toriko. Thus, an explanation existing in that same space becomes Yuri, as it mirrors the same emotions and attraction. Merely by placing the usual exposition into interactions and relationships, Miyazawa was able to open hard science fiction to new readers, who may have been apprehensive before because of these text walls.

Miyazawa’s other secret weapon is, as he describes it, “Yuri of absence.” Relying on the principles of Strong Yuri, that Yuri is fiction made real through emotions, Yuri of absence extends these parameters outside of characters. As Strong Yuri relies on feeling, not observable data like characters, anything that invokes two women’s feelings together is Yuri. It could be a song, or an empty bench, as one can imagine two women on it and feel emotions tied to that. Of course, taken to its extreme, nearly anything can then be Yuri, as I have joked before, gesturing to an empty chair proclaiming, “Behold, a Yuri!” However, Miyazawa uses this Yuri of absence sparingly, rendering it closer to scenic Yuri’s intimacy.

Scenic Yuri, a particular type of Yuri of absence, focuses exclusively on setting and imagery, a feature that works particularly well in science fiction as according to Masahiro Noda’s “sci-fi is all about images.” Traditional Yuri uses character interaction and supplements it with images and sights that help communicate characters’ emotions and intimacy, like fleeting shots or descriptions of the sky. Take the shot from Kase-san and Morning Girls where Yamada stands by the bus stop. The distance between the girls, the tree in the foreground on Yamada’s side, and the pole on the right all invoke emotion and help tell the girls’ story, distanced by their differences and upcoming life paths. Now remove the girls, the scene remains, as does its meaning and emotions, whether the characters are present or not.

Scenic Yuri is employed vigorously in more male-targeted S Yuri (a minority of the Class S genre). Here, the imagery provides intimacy so that the voyeuristic viewer could look into the characters’ private and forbidden lives, specifically the girls in all-girls schools. Take the shot from Strawberry “Mo Man May Enter Here” Panic. The sweeping view of the Strawberry Dorms atop Astraea Hill, a place where men are forbidden, gives the consumer an exclusive inside look at the private home of its subjects. Otherside Picnic uses these same scenic Yuri principles in its descriptions. In this case, the intimacy does not come from a place where men are prohibited or a shot describing women’s relationships. Instead, the reports of abandoned ruins and deserted open fields where only Toriko and Sorawo exist provide extreme intimacy. It is an emotional view of two of the few women in this world with nothing but each other; thus, Yuri.

Yuri science fiction is easily the most exciting place in the genre right now. Its creators are experimenting with new theories and storytelling methods to expand the boundaries of what science fiction or Yuri alone could never do. The subgenre has undoubtedly come a long way from its Weak Yuri roots and continues to grow. Industry leaders like Miyazawa and Mizoguichi will continue to push into this excited and uncharted territory, using tactics new and old to bring together Yuri’s emotional and romantic core with science fiction’s epic and provoking imagery. I have few doubts that we have seen all these pioneers have to offer and that Last and First Idol and Otherside Picnic are just the beginning.

Sources

Friedman, Erica, and Kishiji Bando. “Shoujo Yuri Manga Guide.” Yuricon, 29 Mar. 2011, https://www.yuricon.com/oldessays/shoujo-yuri-manga-guide/.

Hanson, Katherine. Yuri No Boke 百合のボケ〜百合が好きだ〜: Sci-Fi Yuri Anime and Manga. 17 Feb. 2012, http://yurinoboke.blogspot.com/2012/02/sci-fi-yuri-anime-and-manga.html.

Kit, et al. Tomo Choco Podcast Episode 58: A Trip to the Otherside. https://directory.libsyn.com/episode/index/show/tomochoco5287491142565609/id/14974343. Accessed 18 Feb. 2021.

Komatsu, Mikikazu. “S-F Magazine’s Yuri-Themed Issue Gets Reprints Before Release.” Crunchyroll, https://www.crunchyroll.com/anime-news/2018/12/18/s-f-magazines-yuri-themed-issue-gets-reprints-before-release. Accessed 18 Feb. 2021.

Kusano, Gengen. “[R-18] #SF #矢澤にこ【SF合同サンプル】最後にして最初の矢澤 - 節足原々（セッソクハラハラ）の小説.” Pixiv, https://www.pixiv.net/novel/show.php?id=4992326. Accessed 18 Feb. 2021.

M Alan Kazlev. “The Scale of Hardness in Science Fiction.” Futurism, https://vocal.media/futurism/the-scale-of-hardness-in-science-fiction. Accessed 18 Feb. 2021.

Masayuki Sakoi. Strawberry Panic S01:E21 - Like a Flower. Madhouse, 2006. tubitv.com, https://tubitv.com/tv-shows/558933/s01-e21-like-a-flower.

Maser, Verena. Beautiful and Innocent: Female Same-Sex Intimacy in the Japanese Yuri Genre. ubt.opus.hbz-nrw.de, https://ubt.opus.hbz-nrw.de/frontdoor/index/index/docId/695. Accessed 18 Feb. 2021.

Miyazawa, Iori, et al. Yuri Made Me Human, Part 2. Translated by Kati_lilian, 24 Aug. 2018, https://teletype.in/@kati_lilian/S1yjBCJgH.

Miyazawa, Iori, and Rikimaru Mizoguchi. Yuri Made Me Human — Interview with Iori Miyazawa. Translated by kati_lilian, May 2018, https://teletype.in/@kati_lilian/SJA8KwjjN.

Moore, Caitlin, et al. “The Winter 2021 Preview Guide - Otherside Picnic.” Anime News Network, https://www.animenewsnetwork.com/preview-guide/2021/winter/otherside-picnic/.167892. Accessed 18 Feb. 2021.

Nicki “YuriMother” Bauman. The History and Future of Transgender Representation in Yuri - The Secret Garden, January 2021 | YuriMother on Patreon. https://www.patreon.com/posts/45495024. Accessed 18 Feb. 2021.

---. “Yuri Is for Everyone: An Analysis of Yuri Demographics and Readership.” Anime Feminist, 12 Feb. 2020, https://www.animefeminist.com/yuri-is-for-everyone-an-analysis-of-yuri-demographics-and-readership/.

Pinansky, Sam. Interview with J-Novel Club’s Sam Pinansky. Interview by Erica Friedman, 1 Oct. 2019, https://okazu.yuricon.com/2019/10/01/interview-with-j-novel-clubs-sam-pinansky/.

Sarantos, Constance. “How Otherside Picnic Breaks the Yuri Genre Mold.” CBR, 10 Jan. 2021, https://www.cbr.com/otherside-picnic-breaks-yuri-genre-mold/.

“「SF冬の時代」は雪解けを迎えた早川書房・溝口力丸 Vol.1.” KAI-YOU Premium, https://premium.kai-you.net/article/201. Accessed 18 Feb. 2021.

Snapshot. https://www.cbr.com/otherside-picnic-breaks-yuri-genre-mold/. Accessed 18 Feb. 2021.

Takuya Satou. Watch Kase-San and Morning Glories. Sentai Filmworks, 2018. vrv.co, https://vrv.co/series/GYQWD1X1Y/Kase-san-and-Morning-Glories.

Walter, Damien. “Science Fiction vs SciFi vs SF: What Is the True Definition?” Damien Walter, 7 Aug. 2018, https://damiengwalter.com/2018/08/07/science-fiction-vs-scifi-vs-sf-what-is-the-true-definition/.

YuriMother. “LGBTQ Light Novel Review - Otherside Picnic Vol. 1.” The Holy Mother of Yuri, 12 Dec. 2019, https://yurimother.com/post/189635367305.

#Yuri #otherside picnic #the secret garden #miyazawa yuri #yuri of absence #scenic yuri #lgbt #lgbtq #lgbtq+#queer #gay #lesbian

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sdv-confessions · 3 months ago

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Alright, I just saw the post about the correct way of using "pick me" and how it relates to Abigail and I'm not going to lie. I have a few thoughts I'd like to share. I'll do my best to keep it as respectful as possible and I do genuinely apologize if I sound too harsh.

First of all, I do think that coming with the whole "Actually, you're all misusing the term. I'll tell you how to use it because yes I am a feminist and I read about this" is quite condescending. I completely agree that Abigail is not a pick me, that her hobbies and interests are genuine, but the tone... It did throw me off.

Now out of the books with the theory and into the life with the experience, it is a common thing to find girls and women who are into "masculine" hobbies to gain attention from men. To be "superior to other women" because she's "one of the boys" and will hang out with mostly boys. And will remark that, and will make sure everyone knows she's different and she's cool and guuyss she's NOT like the other girls!!!!!!!!! /lh

To see this in Abigail is not a stretch because we do see these traits in her character, but it's a flawed vision. It's lacking of basic literacy because it's missing a very important part to be a pick me: Wanting to be picked.

She's very self sufficient and independent. I'm on my first run on the game itself and Abigail is one of the hardest characters for me to gain hearts because everything I give her she turns to me and asks what she's supposed to do with it and I'm here staring at my screen in disbelief and wishing I could reach into the screen and ask her what ELSE is she supposed to do with the grapes I gave her??

Sorry sorry I got sidetracked. Well I've seen a few scenes with her but I have never seen her act like she wants the male attention, despite having so many "masculine" hobbies and I have never seen any of the men she hangs out with mention anything for that. She's literally just vibing and we respect that.

I think that's more of a point we could use to argue that Abigail isn't a pick me. Instead of taking out the books and the correct terms, which are not going to be fitting all of the situations since I can name pick mes that aren't aligned with right-wing ideals because this is a much broader issue nowadays, we can take the very, VERY basics of a "pick me" and work with it: Wanting to be picked. Which is completely backwards to Abigail's character.

And as a little last thing, Alex is much more of a pick me than Abigail because bro is constantly whining that there aren't enough girls around. Why are you so concerned huh? Do you want one of them to....... Pick you.......? /j (My bad for the long post by the way)

#sdv confessions #abigail discourse

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adarkrainbow · 6 months ago

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Queering kinship in "The Maiden who Seeks her Brothers" (A)

As I promised before, I will share with you some of the articles contained in the queer-reading study-book "Queering the Grimms". Due to the length of the articles and Tumblr's limitations, I will have to fragment them. Let's begin with an article from the Faux Feminities segment, called Queering Kinship in "The Maiden who Seeks her Brothers", written by Jeana Jorgensen. (Illustrations provided by me)

The fairy tales in the Kinder- und Hausmärchen, or Children’s and Household Tales, compiled by Jacob and Wilhelm Grimm are among the world’s most popular, yet they have also provoked discussion and debate regarding their authenticity, violent imagery, and restrictive gender roles. In this chapter I interpret the three versions published by the Grimm brothers of ATU 451, “The Maiden Who Seeks Her Brothers,” focusing on constructions of family, femininity, and identity. I utilize the folkloristic methodology of allomotific analysis, integrating feminist and queer theories of kinship and gender roles. I follow Pauline Greenhill by taking a queer view of fairy tale texts from the Grimms’ collection, for her use of queer implies both “its older meaning as a type of destabilizing redirection, and its more recent sense as a reference to sexualities beyond the heterosexual.” This is appropriate for her reading of “Fitcher’s Bird” (ATU 311, “Rescue by the Sister”) as a story that “subverts patriarchy, heterosexuality, femininity, and masculinity alike” (2008, 147). I will similarly demonstrate that “The Maiden Who Seeks Her Brothers” only superficially conforms to the Grimms’ patriarchal, nationalizing agenda, for the tale rather subversively critiques the nuclear family and heterosexual marriage by revealing ambiguity and ambivalence. The tale also queers biology, illuminating transbiological connections between species and a critique of reproductive futurism. Thus, through the use of fantasy, this tale and fairy tales in general can question the status quo, addressing concepts such as self, other, and home.

The first volume of the first edition of the Grimm brothers’ collection ap[1]peared in 1812, to be followed by six revisions during the brothers’ lifetimes (leading to a total of seven editions of the so-called large edition of their collection, while the so-called small edition was published in ten editions). The Grimm brothers published three versions of “The Maiden Who Seeks Her Brothers” in the 1812 edition of their collection, but the tales in that volume underwent some changes over time, as did most of the tales. This was partially in an effort to increase sales, and Wilhelm’s editorial changes in particular “tended to make the tales more proper and prudent for bourgeois audiences” (Zipes 2002b, xxxi). “The Maiden Who Seeks Her Brothers” is one of the few tale types that the Grimms published multiply, each time giving titular focus to the brothers, as the versions are titled “The Twelve Brothers” (KHM 9), “The Seven Ravens” (KHM 25), and “The Six Swans” (KHM 49). However, both Stith Thompson and Hans-Jörg Uther, in their respective 1961 and 2004 revisions of the international tale type index, call the tale type “The Maiden Who Seeks Her Brothers.” Indeed, Thompson discusses this tale in The Folktale under the category of faithfulness, par[1]ticularly faithful sisters, noting, “In spite of the minor variations . . . the tale-type is well-defined in all its major incidents” (1946, 110). Thompson also describes how the tale is found “in folktale collections from all parts of Europe” and forms the basis of three of the tales in the Grimm brothers’ collection (111).

In his Interpretation of Fairy Tales, Bengt Holbek classifies ATU 451 as a “feminine” tale, since its two main characters who wed at the end of the tale are a low-born young female and a high-born young male (the sister, though originally of noble birth in many versions, is cast out and essentially impoverished by the tale’s circumstances). Holbek notes that the role of a low-born young male in feminine tales is often filled by brothers: “The relationship between sister and brothers is characterized by love and help[1]fulness, even if fear and rivalry may also be an aspect in some tales (in AT 451, the girl is afraid of the twelve ravens; she sews shirts to disenchant them, however, and they save her from being burnt at the stake at the last moment)” (1987, 417). While Holbek conflates tale versions in this description, he is essentially correct about ATU 451; the siblings are devoted to one another, despite fearsome consequences.

The discrepancy between those titles that focus on the brothers and those that focus on the sister deserves further attention. Perhaps the Grimm brothers (and their informants?) were drawn to the more spectacular imagery of enchanted brothers. In Hans Christian Andersen’s well-known version of ATU 451, “The Wild Swans,” he too focuses on the brothers in the title. However, some scholars, including Thompson and myself, are more intrigued by the sister’s actions in the tale. Bethany Joy Bear, for instance, in her analysis of traditional and modern versions of ATU 451, concentrates on the agency of the silent sister-saviors, noting that the three versions in the Grimms’ collection “illustrate various ways of empowering the hero[1]ine. In ‘The Seven Ravens’ she saves her brothers through an active and courageous quest, while in ‘The Twelve Brothers’ and ‘The Six Swans’ her success requires redemptive silence” (2009, 45).

The three tales differ by more than just how the sister saves her brothers, though. In “The Twelve Brothers,” a king and queen with twelve boys are about to have another child; the king swears to kill the boys if the newborn is a girl so that she can inherit the kingdom. The queen warns the boys and they run away, and the girl later seeks them. She inadvertently picks flowers that turn her brothers into ravens, and in order to disenchant them she must remain silent; she may not speak or laugh for seven years. During this time, she marries a king, but his mother slanders her, and when the seven years have elapsed, she is about to be burned at the stake. At that moment, her brothers are disenchanted and returned to human form. They redeem their sister, who lives happily with her husband and her brothers.

In “The Seven Ravens,” a father exclaims that his seven negligent sons should turn into ravens for failing to bring water to baptize their newborn sister. It is unclear whether the sister remains unbaptized, thus contributing to her more liminal status. When the sister grows up, she seeks her brothers, shunning the sun and moon but gaining help from the stars, who give her a bone to unlock the glass mountain where her brothers reside. Because she loses the bone, the girl cuts off her small finger, using it to gain access to the mountain. She disenchants her brothers by simply appearing, and they all return home to live together.

In “The Six Swans,” a king is coerced into marrying a witch’s daughter, who finds where the king has stashed his children to keep them safe. The sorceress enchants the boys, turning them into swans, and the girl seeks them. She must not speak or laugh for six years and she must sew shirts from asters for them. She marries a king, but the king’s mother steals each of the three children born to the couple, smearing the wife’s mouth with blood to implicate her as a cannibal. She finishes sewing the shirts just as she’s about to be burned at the stake; then her brothers are disenchanted and come to live with the royal couple and their returned children. However, the sleeve of one shirt remained unfinished, so the littlest brother is stuck with a wing instead of an arm.

The main episodes of the tale type follow Russian folklorist Vladimir Propp’s structural sequence for fairy-tale plots: the tale begins with a villainy, the banishing and enchantment of the brothers, sometimes resulting from an interdiction that has been violated. The sister must perform a task in addition to going on a quest, and the tale ends with the formation of a new family through marriage. As Alan Dundes observes, “If Propp’s formula is valid, then the major task in fairy tales is to replace one’s original family through marriage” (1993, 124; see also Lüthi 1982). This observation holds true for heteronormative structures (such as the nuclear family), which exist in order to replicate themselves. In many fairy tales, the original nuclear family is discarded due to circumstance or choice. However, the sister in “The Maiden Who Seeks Her Brothers” has not abandoned or been removed from her old family, unlike Cinderella, who ditches her nasty stepmother and stepsisters, or Rapunzel, who is taken from her birth parents, and so on. Although, admittedly, “The Seven Ravens” does not end in marriage, I do not plan to disqualify it from analysis simply because it doesn’t fit the dominant model, as Bengt Holbek does when comparing Danish versions of “King Wivern” (ATU 433B, “King Lindorm”).1 The fact that one of the tales does not end in marriage actually supports my interpretation of the tales as transgressive, a point to which I will return later.

Dundes’s (2007) notion of allomotif helps make sense of the kinship dynamics in “The Maiden Who Seeks Her Brothers.” In order to decipher the symbolic code of folktales, Dundes proposes that any motif that could fill the same slot in a particular tale’s plot should be designated an allomotif. Further, if motif A and motif B fulfill the same purpose in moving along the tale’s plot, then they are considered mutually substitutable, thus equivalent symbolically. What this assertion means for my analysis is that all the methods by which the brothers are enchanted and subsequently disenchanted can be treated as meaningful in relation to one another. One of the advantages of comparing allomotifs rather than motifs is that we can be assured that we are analyzing not random details but significant plot components. So in “The Six Swans” and “The Seven Ravens,” we see the parental curse causing both the banishment and the enchantment of the brothers, whereas in “The Twelve Brothers,” the brothers are banished and enchanted in separate moves. Even though the brothers’ exile and enchantment happen in a different sequence in the different texts, we must view their causes as functionally parallel. Thus the ire of a father concerned for his newborn daughter, the jealous rage of a stepmother, the homicidal desire of a father to give his daughter everything, and the innocent flower gathering of a sister can all be seen as threatening to the brothers. All of these actions lead to the dispersal and enchantment of the brothers, though not all are malicious, for the sister in “The Twelve Brothers” accidentally turns her brothers into ravens by picking flowers that consequently enchant them.

I interpret this equivalence as a metaphorical statement—threats to a family’s cohesion come in all forms, from well-intentioned actions to openly malevolent curses. The father’s misdirected love for his sole daughter in two versions (“The Twelve Brothers” and “The Seven Ravens”) translates to danger to his sons. This danger is allomotifically paralleled by how the sister, without even knowing it, causes her brothers to become enchanted, either by picking flowers in “The Twelve Brothers” or through the mere incident of her birth in “The Twelve Brothers” and “The Seven Ravens.” The fact that a father would prioritize his sole daughter over numerous sons is strange and reminiscent of tales in which a father explicitly expresses romantic de[1]sire for his daughter, as in “Allerleirauh” (ATU 510B), discussed in chapter 4 by Margaret Yocom. Even in “The Six Swans,” where a stepmother with magical powers enchants the sons, the father is implicated; he did not love his children well enough to protect them from his new spouse, and once the boys had been changed into swans and fled, the father tries to take his daughter with him back to his castle (where the stepmother would likely be waiting to dispose of the daughter as well), not knowing that by asserting control over her, he would be endangering her. The father’s implied ownership of the daughter in “The Maiden Who Seeks Her Brothers” and the linking of inheritance with danger emphasize the conflicts that threaten the nuclear family. Both material and emotional resources are in limited supply in these tales, with disastrous consequences for the nuclear family, which fragments, as it does in all fairy tales (see Propp 1968).

Holbek reaches a similar conclusion in his allomotific analysis of ATU 451, though he focuses on Danish versions collected by Evald Tang Kristensen in the late nineteenth century. Holbek notes that the heroine is the actual “cause of her brothers’ expulsion in all cases, either—innocently—through being born or—inadvertently—through some act of hers” (1987, 550). The true indication of the heroine’s role in condemning her brothers is her role in saving them, despite the fact that other characters may superficially be blamed: “The heroine’s guilt is nevertheless to be deduced from the fact that only an act of hers can save her brothers.” However, Holbek reads the tale as revolving around the theme of sibling rivalry, which is more relevant to the cultural context in which Danish versions of ATU 451 were set, since the initial family situation in the tale was not always said to be royal or noble, and Holbek views the tales as reflecting the actual concerns and conditions of their peasant tellers (550; see also 406–9).2 Holbek also discusses the lack of resources that might lead to sibling rivalry, identifying physical scarcity and emotional love as two factors that could inspire tension between siblings.

The initial situation in the Grimms’ versions of “The Maiden Who Seeks Her Brothers” is also a comment on the arbitrary power that parents have over their children, the ability to withhold love or resources or both. The helplessness of children before the strong feelings of their parents is cor[1]roborated in another Grimms’ tale, “The Lazy One and the Industrious One” (Zipes 2002b, 638).3 In this tale, which Jack Zipes translated among the “omitted tales” that did not make it into any of the published editions of the KHM, a father curses his sons for insulting him, causing them to turn into ravens until a beautiful maiden kisses them. Essentially, the fam[1]ily is a site of danger, yet it is a structure that will be replicated in the tale’s conclusion . . . almost.

But first, the sister seeks her brothers and disenchants them. The symbolic equation links, in each of the three tales, the sister’s silence (neither speaking nor laughing) for six years while sewing six shirts from asters, her seven years of silence (neither speaking nor laughing), and her cutting off her finger and using it to gain entry to the glass palace where she disenchants her brothers merely by being present. The theme unifying these allomotifs is sacrifice. The sister’s loss of her finger, equivalent to the loss of her voice, is a symbolic disempowerment. One loss is a physical mutilation, which might not impair the heroine terribly much; the choice not to use her voice is arguably more drastic, since her inability to speak for herself nearly causes her death in the tales.4 Both losses could be seen as equivalent to castration.5 However, losing her ability to speak and her ability to manipulate the world around her while at the same time displaying domestic competence in sewing equates powerlessness with feminine pursuits. Bear notes that versions by both the Grimms and Hans Christian Andersen envision “a distinctly feminine savior whose work is symbolized by her spindle, an ancient emblem of women’s work” (2009, 46). Ruth Bottigheimer (1986) points out in her essay “Silenced Women in Grimms’ Tales” that the heroines in “The Twelve Brothers” and “The Six Swans” are forced to accept conditions of muteness that disempower them, which is part of a larger silencing that occurs in the tales; women both are explicitly forbidden to speak, and they have fewer declarative and interrogative speech acts attributed to them within the whole body of the Grimms’ texts.

Ironically, in performing subservient femininity, the sister fails to perform adequately as wife or mother, since the children she bears in one version (“The Six Swans”) are stolen from her. When the sister is married to the king, she gives birth to three children in succession, but each time, the king’s mother takes away the infant and smears the queen’s mouth with blood while she sleeps (Zipes 2002b, 170). Finally, the heroine is sentenced to death by a court but is unable to protest her innocence since she must not speak in order to disenchant her brothers. In being a faithful sister, the heroine cannot be a good mother and is condemned to die for it. This aspect of the tale could represent a deeply coded feminist voice.6 A tale collected and published by men might contain an implicitly coded feminist message, since the critique of patriarchal institutions such as the family would have to be buried so deeply as to not even be recognizable as a message in order to avoid detection and censorship (Radner and Lanser 1993, 6–9). The sis[1]ter in “The Six Swans” cannot perform all of the feminine duties required of her, and because she ostensibly allows her children to die, she could be accused of infanticide. Similarly, in the contemporary legend “The Inept Mother,” collected and analyzed by Janet Langlois, an overwhelmed mother’s incompetence indirectly kills one or all of her children.7 Langlois reads this legend as a coded expression of women’s frustrations at being isolated at home with too many responsibilities, a coded demand for more support than is usually given to mothers in patriarchal institutions. Essentially, the story is “complex thinking about the thinkable—protecting the child who must leave you—and about the unthinkable—being a woman not defined in relation to motherhood” (Langlois 1993, 93). The heroine in “The Six Swans” also occupies an ambiguous position, navigating different expectations of femininity, forced to choose between giving care and nurturance to some and withholding it from others.

Here, I find it productive to draw a parallel to Antigone, the daughter of Oedipus. Antigone defies the orders of her uncle Creon in order to bury her brother Polyneices and faces a death sentence as a result. Antigone’s fidelity to her blood family costs her not only her life but also her future as a productive and reproductive member of society. As Judith Butler (2000) clarifies in Antigone’s Claim: Kinship between Life and Death, Antigone transgresses both gender and kinship norms in her actions and her speech acts. Her love for her brother borders on the incestuous and exposes the incest taboo at the heart of kinship structure. Antigone’s perverse death drive for the sake of her brother, Butler asserts, is all the more monstrous because it establishes aberration at the heart of the norm (in this case the incest taboo). I see a similar logic operating in “The Maiden Who Seeks Her Brothers,” because according to allomotific equivalences, the heroine is condemned to die only in one version (“The Six Swans”) because she allegedly ate her children. In the other version that contains the marriage episode (“The Twelve Brothers”), the king’s mother slanders her, calling the maiden “godless,” and accuses her of wicked things until the king agrees to sentence her to death (Zipes 2002b, 35). As allomotific analysis reveals, in the three versions, the heroine is punished for being excessively devoted to her brothers, which is functionally the same as cannibalism and as being generally wicked (the accusation of the king’s mother in two of the versions).

In a sense, the heroine’s disproportionate devotion to her brothers kills her chance at marriage and kills her children, which from a queer stance is a comment on the performativity of sexuality and gender. According to Butler, gender performativity demonstrates “that what we take to be an internal essence of gender is manufactured through a sustained set of acts, posited through the gendered stylization of the body” ([1990] 1999, xv). This illusion, that gender and sexuality are a “being” rather than a “doing,” is constantly at risk of exposure. When sexuality is exposed as constructed rather than natural, thus threatening the whole social-sexual system of identity formation, the threat must be eliminated.

One aspect of this system particularly threatened in “The Maiden Who Seeks Her Brothers” is reproductive futurism, one form of compulsory teleological heterosexuality, “the epitome of heteronormativity’s desire to reach self-fulfillment by endlessly recycling itself through the figure of the Child” (Giffney 2008, 56; see also Edelman 2004). Reproductive futurism mandates that politics and identities be placed in service of the future and future children, utilizing the rhetoric of an idealized childhood. In his book on reproductive futurism, Lee Edelman links queerness and the death drive, stating, “The death drive names what the queer, in the order of the social, is called forth to figure: the negativity opposed to every form of social viability” (2004, 9). According to this logic, to prioritize anything other than one’s reproductive future is to refuse social viability and heteronormativity—this is what the heroine in “The Maiden Who Seeks Her Brothers” does. Her excessive emotional ties to her brothers disfigure her future, aligning her with the queer, the unlivable, and hence the ungrievable. Refusing the linear narrative of reproductive futurism registers as “unthinkable, irresponsible, inhumane” (4), words that could very well be used to describe a mother who is thought to be eating her babies and who cannot or will not speak to defend herself.

The heroine’s marriage to the king in two versions of the tale can also be examined from a queer perspective. Like the tale “Fitcher’s Bird,” which queers marriage by “showing male-female [marital] relationships as clearly fraught with danger and evil from their onset,” the Grimms’ two versions of ATU 451 that feature marriage call into question its sanctity and safety (Greenhill 2008, 150, emphasis in original). Marriage, though the ultimate goal of many fairy tales, does not provide the heroine with a supportive or nurturing environment. Bear comments that in versions of “The Maiden Who Seeks Her Brothers” wherein a king discovers and marries the heroine, “the king’s discovery brings the sister into a community that both facilitates and threatens her work. The sister’s discovery brings her into a home, foreshadowing the hoped-for happy ending, but it is a false home, determined by the king’s desire rather than by the sister’s creation of a stable and complete community” (2009, 50)

#queering the grimm #queering the grimms #queer fairytales #the maiden who seeks her brothers #the twelve brothers #the six swans #the seven ravens #grimm fairytales #fairytale analysis #fairytale type

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doberbutts · 1 year ago

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Hi - asking in good faith here, but I am also relatively new to active anti-racism (im white, grew up in all white areas, and didn't encounter anti racist perspectives until college). In the last few years I've done a LOT of reading about anti-black racism, black feminist theory, womanism, etc, and I'm beginning to understand why the bastardization and appropriation of aave is so harmful. I don't want to put my friends of color on the spot about this or make them feel pressured to answer a certain way, though, and I DO want an answer that's grounded in theory and thoughtfulness about these things (two traits my circle of 18-20 year olds sometimes lacks, understandably). I know that that might put a lot of pressure on you as well but please know that while I do respect your opinion, I know you're just one Black person with one opinion - and of course if an irl Black friend ever came to me and told me to stop I would.

My question is, if I am making sure to attribute it correctly as AAVE, being careful to make sure I'm using it appropriately, and of course listening in case I hear I've misused it - is it still harmful for me as a white person to use aave? Is it possible to use aave non-harmfully as a white person, among Black friends? Or would it be better for me to do my best to remove those words and phrases and grammatical structures from the way I speak entirely?

A lot of these things, I pick up FROM my friends, and they haven't, idk, made faces or suggested I should stop or anything like that. But of course it's hard to sort out what I pick up from my friends, what I pick up from Black literature (im a terrible parrot from my books unfortunately 😬), and what comes from the intern*t lol. So there's obviously the potential to misuse or disrespect aave, especially if I ever stop being thoughtful about what I say and where I first hear it. And while I have tried to read up on the appropriation of AAVE and develop my own opinion, this really does seem like one of those things where as a white person my opinion is always going to be a little out of touch - and I REALLY don't want to hurt and alienate my friends and accidentally advance racism in my community because I felt qualified to comment on this.

I don't know. I grew up in a very white enclave in a very white area of a very white state, and I AM trying to catch up and think critically about what I do say and think, but honestly, I am very new to these things. So if this is a dumb question or I am inadvertently ignorant/inappropriate, I'm really sorry about that and please know that I AM trying to do better. (And I will never say no to specific resource recommendations. I've read everything you usually read in an intro to Africana studies course lol but there is so much out there!!)

Thanks, either way. I appreciate you taking the time to read this extremely long winded ask lol. And I appreciate the way you blog about these things and how you make it clear where and from what you develop your opinions - that's super helpful!!!

-bee

Well as you said I am one person and I do not know you or talk to you really so I can't really say yes or no on your specific case. But also I would challenge you to ask yourself why you felt you needed the permission of a black stranger rather than actually sit down and talk to your friends about it.

I have said in other posts that it is less about needing to be black to speak AAVE and more about respect. I am all for cultural sharing and appreciation and I do not think that culture requires specifically only blood ties. I'm a mixed race person, after all, and one who has a quite large mixed race extended and found family. I think that blood is not the only thing that defines us.

But I also think that one must go into these sorts of conversations with respect. My white (passing) mother can understand my black family speaking AAVE, despite the fact that there was a single black kid in her neighborhood and school system when she grew up. This is because she treated my dad and his family with respect, and so they are comfortable speaking this way in front of her, and she is comfortable asking for clarification if she needs it, which is quite rare nowadays considering she's been married to my dad for 35 years and in a relationship with him for 42 and has thus had a lot of practice.

But she also doesn't use AAVE herself. To her, it would be disrespectful. She did not grow up in it. It is not her culture. It is shared with her due to proximity to said culture with her husband and father of her children. But for her, she chooses to continue to use the Pennsylvania Dutch-influenced dialect she grew up in, which is a very white Appalachian specific-to-Pennsylvania dialect and culture. I myself switch back and forth between the two, depending on who I'm talking to. Sometimes in the same conversation, if I'm talking to my mom vs my dad in the same room.

I don't think any of my black family would be offended if she did use AAVE, though again with her personality and the way she has approached this over the last several decades I think they'd be surprised if she suddenly did it like tomorrow or something. But she herself does not think it would be respectful of the culture, the dialect, or of her husband and inlaws for it to come out of her mouth. And I am sort of inclined to agree. Outside of a few slang words that have become so distant from their roots that it is difficult to say they are *purely* AAVE anymore, similar with many historically-Yiddish slang words, I do not personally think she could hold a conversation in AAVE and do it respectfully enough to not be offensive. It's just not really hers to do that with.

On the other hand, when I worked in a mostly-black store in an area that was significantly more black-populated, where I rarely had to code switch and mostly used AAVE all the timewith clients and customers, there were nonblack people who also used and understood AAVE. I had no problem with this, even with the white people doing it, because that was just how everyone in that area spoke. And, mot for nothing, but I found those white people to be as a general rule significantly less racist in their treatment of me and of other people of color, and racial mixing was significantly more common. Again, it's about respect. Even if it's not really a concious thing.

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aevallare · 6 months ago

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I fell out of love with Sarah J Maas books a while back, but watching her descent into madness and watching the fanbase build, then turn toxic, has been the most interesting thing to me. I guess you could say I grew as a reader alongside her as a writer, but keep in mind, I’m old now.

She started out as one of us, an online poster. I’m about to show my age here but she wrote Queen of glass, which would later become throne of glass series, on fictionpress in the mid 2000s. She definitely would have been a watpad girlie. I remember her responding and engaging with those of us who followed her and really taking feedback to heart. She was so excited when her book, eventually, got picked up and was especially keen on it being available on the kindle store. She would release novellas for kindle exclusives and was so proud it. I remember her so exited to write for DC comics at one point. She even made a little YouTube video with cat ears on asking us to read it. (she fumbled that so hard btw)

When the first few TOG books first came out remember there being no fanbase, no fan art, no online discussions on theories. Ghost town. As someone who had followed since the beginning it was just nice to see someone get flowers for their hard work. She still engaged with her followers, she loved specific fan artists and spreading their work on socials, and eventually started having her favourite fan artists make art for the physical copies of her books. Still a woman of the people. Still taking notes.

THEN ACOTAR, and something shifted in the wind. It’s odd to see a woman so keen on the YA genre just decide one day…. Nah I’m good. I think that’s the appeal. She was writing YA for the people who were beginning to age out of YA at the time. Since then the books exploded, and in my opinion, dropped in quality with every release. I can’t say when it was but at one point she just… removed her self. Stopped getting involved in discussions and engaging with people. Which professionally, smart move. Creatively though, keep in mind this woman THRIVED on online feedback at one point.

Ironically Sarah has since built her self a new reputation in the last 12 years of publishing. With hit after hit She’s a gatekeeper and a hater, who is mean to new and upcoming authors, won’t play well others, and won’t take an editors advice to save her life. I hear editors flat out refuse to work with her now which is so ironic.

I was once so happy to see her get popular, but now it’s just embarrassing to be associated with her new fans. Fans who bully an actress and fat shame her while gushing about their “kind of” feminist “icon” love interest… it’s not the group I want to be associated with anymore.

Anyway thanks for coming to the ted talk of a former SJM fan.

Love your work! Keep being you!

i admit, i'm not very dialed in to SJM as a sort of... institution. in my experience, this attitude toward editing is very common, especially in people who found success in the past. i don't edit on anywhere near this scale, but it's just so. who do you think helped you put the good in it. obviously this is your baby but i want your baby to blossom into a beautiful adult someday. please listen to me. please.

more power to her for success and clearly it's working for her. i'm throwing stones from the sewer up at mount olympus. i don't begrudge anyone liking her books. they're just not for me.

#asks

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shakespearean-snape · 10 months ago

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Hi there! so glad to see you posting again I like a lot of what you have to say about Snape. I noticed you say a few times tho that your visual headcanon for Snape isn't conventionally attractive and I just wondered if you had any reference of what he looks like in your mind? An actor or other famous person? just someone like that?

I'm just curious how you imagine Snape because I admit I just see Alan Rickman as Snape in my head since I started with the movies as a kid and didn't read the books a few until years later. It always interests me so much when people say they read the books before the movies or read the books with the movies coming out and saw Snape as someone else.

Its ok if you can't think of anyone just thought I'd ask. thx!

Hello!

*waves enthusiastically like an idiot with zero chill*

I get so giddy when someone sends me an ask like this so I hope no one thinks I don't enjoy questions about Snape or my headcanons. As anyone who knows me knows, I think a lot and especially about those things I love so I always have lots of thoughts rolling around in my head I can be positively overeager to share with anyone interested.

So to answer your question, I don't have a specific person pinned down that is 100% like how I picture Snape in my mind but some close candidates would be a young Adrien Brody (which I think is common enough among Snape fans as a choice, right there with Adam Driver these days), obviously the man that JKR based Snape around, John Nettleship, someone like Adarsh Jaikarran as a potential Hogwarts-era and early 20s Snape (even if he is more good-looking than I usually lean, in some pictures he just channels Snape vibes for me quite a bit) and a very young Julian Richings if you've ever seen photos of him in his younger years (I have two here for you so you can see my point a bit, here and here).

Ironically, Julian Richings in the later years of his acting career would probably have been my first choice for a Voldemort fan cast back in the day when any Harry Potter reboot was purely in the realm of the hypothetical (I mean, c'mon, look at this and tell me you can't see it too) but as JKR is an unapologetic anti-feminist/TERF I provide no monetary support to any of her projects including any licensed games, the watching of future reboots or purchasing of future tie-in books in the HP universe, officially licensed HP merchandise, or even by giving traffic to what was formerly Pottermore, etc.

All I bring to the fandom now is my fan theories and love for Snape, which she not only does not benefit from but never seemed entirely at peace with given how the character got away from her and took off. I can't think of a better way to spite someone so utterly spiteful herself than to take the character she was most shocked by people loving in any capacity and celebrate him in every incarnation (gay, bi, trans, ace, autistic, poc, etc.) with my queer, gender-nonconforming little heart while she gets zero money off me for it.

Anyway I hope the visual guide gives you a little more insight into my mind. I've never seen Snape as "ugly" (even when I joke my Snape is "ugly" and I like him that way) but my mental picture of him is of a man whose looks might fall into that unconventionally attractive sphere or what some people call homely. Occasionally I veer off that a bit, as with Adarsh Jaikarran, oh, oh! And also Lee Soo Hyuk, Song Jae-Rim and Kento Yamazaki (ever since I saw him in the live-action Bloody Monday manga series adaptation)!

But yes, my favorite Snape and the Snape I love isn't usually model attractive but also not quite the gargoyle Harry describes (that kid had some ridiculously high standards of beauty tbh, about the only characters he didn't have mentally critical notes on their appearance was the unnamed Veela, Fleur, and Narcissa Malfoy so yeah he totally thought "Draco's mom has got it going on..." Lol!) but somewhere in that "unconventional" categorization of attractive which I feel really suits a man who so often defies easy categorization in general.

(Excuse all the edits. After I gave a few examples more started hitting me and I was like ohhhhh I should have shared them, why didn't I think to share them? So I may come back and make more edits throughout the day, no promises I won't! Lol)

#severus snape #pro snape #snape community #snape fandom #snapedom #snape headcanon #fuck jkr #anti jkr

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taylortruther · 10 months ago

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i’m curious if you’re comfortable answering what places have you branched out to besides the atlantic as you’ve moved further left???

so this is hard to answer, because you can't just go to one source. i didn't just replace the atlantic with a single other publication, i just outgrew it.

anyway, i read A LOT. i've always been interested in issues of gender, inequality, prejudice, even before i knew what they were called. so beyond resources, i encourage you to read a lot, read from many different sources, and read critically. it is up to you to distill the truth from fiction, opinion from fact. also, you must think critically. you have to take the information and apply it, let it challenge you, let it stack up in your brain until you have convictions that you can actually justify.

🚨 also, disclaimer: i do not endorse EVERYTHING these publications or sites have printed. i don't co-sign every opinion these activists hold. i am sorry if i am ignorant to some crime against humanity within! i'm certain all the resources here are considered "problematic" or biased in some way, or to someone. some publications serve corporate interests, some have problematic business practices, some writers have problematic histories, and some of the info will challenge your worldview in a way that might seem harmful and cause you to deem them problematic. 🚨

mainstream news is still essential to stay aware of what's going on in the world (al jazeera, npr, cnn, to name a few) -- but these are some of the corporate interests i was talking about. they're biased, heavily, but sadly can't think of a news site that covers world news that isn't somehow beholden to their corporate overlords.

magazines, such as: mother jones, the nation, tempest, jacobin, dissent, inverse (for science) -- some of these are socialist publications. some, like mother jones, do excellent investigative reporting. you must know the difference between that and editorial - they are all valuable, but they aren't interchangeable. you will find a lot of editorials/opinions here, and you should assume any of them are owned by a bigger company and might be subject to their interests.

a selection of books i've loved at various times in my life: "aint i a woman? Black women and feminism" and "feminist theory" by bell hooks; "revolution and evolution" by grace lee boggs; "so you want to talk about race?" by ijeoma oluo; "bad feminist" by roxane gay; "unpacking the invisible knapsack" by peggy mcintosh; the publications of jackson katz, who researches what we now call toxic masculinity.

i also follow a lot of activists/thinkers, such as:

ericka hart - sexuality and Black history educator

tarana burke - founder of the metoo movement, Black feminist activist

laura danger - discusses domestic labor and gender inequality in relationships, and how global inequality creates it

megan jayne crabbe - writer and body positivity activist

ijeoma oluo - activist and author of "so you want to talk about race?"

abolition notes - not an activist, but a resource for educational material

following magazines and activists is probably the "easiest" solution, because you can expose yourself over time. read articles as they interest you, don't look away when activists say something that initially seems too extreme. idk! hope this helps!!

#recs #turning off rbs for now because i don't know if i want this to escape containment #socio #politics

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feminismisstillahatemovement · 1 year ago

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Found a saved copy of this ask from a few years back, before my original tumblr got nuked for no reason. Still stand by it:

______________________________________

Anonymous asked: Do you believe all feminists are hateful? I use the word but I just want equality, and that includes standing up for trans people, male rape victims, etc

-----------------------

No, I believe the great majority of people who identify as feminist are otherwise rational, concerned, well-meaning people who have been hoodwinked and peer-pressured into supporting a hateful, bigoted and appallingly destructive ideology by having it sold to them as a force for good through a relentless campaign of hysteria-inducing propaganda and brute force attempts to corner the market on the word ‘equality’.

On the other hand, I think the great majority of radical feminists are either profoundly damaged or sociopathic individuals seeking to project their own internal uglinesses onto the rest of the the world, people we would all avoid like the plague if they did not have this ��we just want to help the poor defenceless women, you don’t hate women, do you?’ mask to hide behind. And the problem is, all feminist theory (’The Patriarchy’, ‘rape culture’, ‘the pay gap’, etc) originates only with radical feminists - yes, becoming more diluted as it reaches the mainstream, but still exclusively rooted in the same unhinged, irrational, ideology.

Radical feminism is not fringe feminism but core feminism: the ‘why can’t we all just get along’ feminists don’t write the books on feminist theory taught to young, impressionable minds in gender studies classes around the world, or teach those classes, or draw up the petitions to lobby for anti-male legislation, or organize feminist action groups, etc. The feminists who make a life of it (and a living off it) are all RadFems, and the proclamations pretty much every single one of them make about ‘MEN’ would sound like the most unmistakably horrific genocidal hate speech to everyone overhearing them if they were only talking about any other group of people on planet earth. If you don’t believe me, just try mentally inserting the word ‘black’ or ‘gay’ in front of the word ‘men’ the next time you read any feminist text or listen to one of them rant.

If you want equal rights and treatment for all people, there are other words you can use to describe yourself rather than ‘feminist’ - such as ‘egalitarian’ - which are far less loaded with hateful bigotry and accompanying crazed ideological assumptions about the world. You don’t need 60 years of hysterical conspiracy theories to say you don’t want women or men to be discriminated against, all you need to do is say what you think.

So my recommendation for you would simply be to express what you think and believe on your own and in your own way, without being forced to adopt the ideological framework and scaffolding of a hateful political movement with its many accompanying agendas.

Distrust the hive mind. Be yourself.

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mushroomjawn · 6 months ago

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Really specific ask: anyone know of fiction books written by scholars in different fields (meaning different from fiction/lit)? My last few favorite books have been written by authors who have expertise in other fields and bring that expertise to their fiction - Carl Sagan brings his science and math knowledge to Contact, Mark Z. Danielewski brings his film knowledge to House of Leaves, Rachel Yoder brings her knowledge of qualitative research methods and feminist theory to Nightbitch... Etc. idk they just bring something so unique to fiction I wanna read a lot more like em. Please help me.

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badlywritingmagazine · 3 months ago

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Invitation to Submit

I made a directory of transfeminist writing for a transfeminist group I was in. Seeing the texts and questions travel was amazing, but some things felt bare. Of the texts by trans women we compiled, very few of the texts labelled themselves as transfeminist. Personal essays were common, but I felt some bite their tongue. Personal writing is of feminist importance, but this description of trans female writing is so regular that it reads almost as a refusal of her ability to form politics from personal experience. These texts were most often published in precarious forms: magazines first-person and blogs. Others were published under the heading of ‘trans’ but fitted some parts of that word uncomfortably; there’s only so much you can say when you must also speak for a man. Those texts that were nominally transfeminist focused on the body and bodily autonomy.

Why bodily autonomy, rather than simply autonomy? All women need all forms of autonomy. All sex is socially constructed. Why was I asked to describe myself as subjected specifically at the site of the body? And it is always ‘the’ body and not my body? What other kind of autonomy is being ignored? Freedom to think?

Transfeminine people are not allowed to talk about our own experiences in our terms: trans women are important to almost everyone for their identity claims. Men and women of all sorts have some vested interest in what we think about our experiences. Speaking frankly and directly about transfeminine life gets abuse. Transfeminine responses to the world are swatted down. Without a degree of intra-transfeminine discussion and privacy, the chance to think together is slim.

Writing Badly is a new journal of letters on the subject of transmisogyny and transfeminism.

It welcomes submissions of any length for annual publication. The first submission deadline is Hogmanay, December 31st 2024, for publication on spring equinox, 20th March 2025. It accepts submissions in any textual form (essay, letter, poetry, dialogue, prose, etc. both fiction and non-fiction) and of any length. There is no requirement to be particularly academic or formal, and tentative thoughts-towards style essays are welcome. It encourages form bending, breaking, and remaking. Dialogue (think After Trans Studies, Chu 2019, or don’t), anecdote (Anecdotal Theory, Jane Gallop 2002, or don’t), and speculative history (Jules Gill-Peterson 2023, or don’t) are especially invited. Make your own questions, but here are some jumping-board topics to get you started:

What are you doing, as a transfeminist? Tell us ways to be in support of each other. Materially? I’ll republish anything you think needs posterity. What does a feminist radical therapy programme look like for girlslikeus? Read the books, and tell me how you can apply it in your community.

Is there a transfeminine way of looking? Engaging with space? Can you identify a transfeminine lens or subjectivity in the work of other trans women? Is there a transfeminine art? If so, what does it mean? Here’s some names: Ada Patterson, Danielle Braithwaite-Shirley, Lulu Sainsbury, Tourmaline, Juliana Huxtable, biogal, Willow Killeen.

Do you have readings, reviews or criticism of work by transfeminine people? (Susan Stryker has an anthology coming out this year, or Nat Raha on trans femme futures) Or of interest to? (Feminism against Cisness is just about to come out too). Read something recently that claims to speak to you but doesn’t? Tell me what’s wrong with it. Is there writing nominally about trans womanhood that is really about something else? (I’m thinking here about Nevada and Tell Me I’m Worthless and their respective national projects, but have your own ideas). Can you situate an aspect of transmisogyny in the colonial project?

Do you have writing about your life that would be rejected elsewhere? Because it reifies a transfeminine subjectivity? I’ve written transmisogyny and transfeminism in this text, but feel free to write to me with texts simply and directly about life as a woman, and your work as a feminist.

Can you write something that gives an avenue, a route, to care and be cared for as a transgender woman?

Can you critique and expand on the conception of transfeminisation given by Jules Gills-Peterson in a short history of transmisogyny (2023)? JGP frames trans womanhood as a colonial project put over the lives of colonised transfeminised peoples. What does this mean for how we tell ‘trans history’? How can we tell transfeminist history as race traitors and abolitionists? Do we have obligations against trans-ing history?

Our society, in the past 10 to 100 years or so, depending on how you ask the question, has become the first to consistently call, very crudely speaking, a man who turns into a woman, and a woman who turns into a man by the same name - trans. With the importance placed on trans now, how can we think about its historical exceptionality? What does it signify? What are the actual shared material interests and where do they diverge? What are the limits of trans as a political marriage? As a theoretical one? Can we situate the formation of trans in the colonial project? Misogyny? What about aspects of trans studies? Do you have an example of bad transgender activism? How is it bad? What bad transgender activism shows an assumed male default in transgender discourse? Can you elaborate on where white traitors and race abolitionists have obligations against some formulations of trans as a political project (binaohan in decolonizing trans/gender 101 (2014))?

Got a queer theory ax to grind? Is Butler’s account of violence against trans women too centred in what men say about violence against trans women? What could a transfeminist close reading of Halberstam achieve? Does Sedgewick have it all backwards? Queering phenomenology? Queer time and geography? Queer futurity? Can you give a transfeminist response to the staple lens of queerness developed in the past decades?

We often ask the question What does trans mean for us as feminists? What can we say as trans women, behind closed doors, in response to this question, that we cannot say elsewhere? Why is transgender activism like that? How is transgender activism failing? What are the limits, again, of that political union? Can you talk about sexism in transgender social reproduction? In DIY culture?

Is there something going on in culture right now that tells us something about transmisogyny? Can you rant? Can you pick apart the transmisogyny of something? Do you have an anecdote that elucidates life as a trans woman? If you’ve been around the block or came out a while ago, tell us some stories. Can you give an oral history? People got double comfortable with staring and asking questions at some point. How has the surveillance of gender changed? Can you do us-centred history?

What are white trans women (+etc.) doing in (trans) activism that is really a reification of their whiteness?

Julia Serano: what’s with her conception of transmisogyny? What’s wrong with it and why? What role does a misogynistic account of the transfeminine body play in her transmisogyny take-downs?

Have you done any lay-research on trans female health? What about history? Anecdata? Again, posterity.

The annexing of trans women is part of how misogyny operates. Can we flesh this out further? What missed opportunities to think about a role of trans female life are there? How have changes to transness (think how sex changed, the tipping point, or changes to pathologisation rendered by Sedgwick in how to bring your kids up gay) changed that relationship? Do you set the lowest wage that a woman may be given?

Do you have something to say? Can you say it with fewer university-words than me? What have I written above that you think is BS? What am I not asking? Do you have something you cannot explain? Will you toss it under a few different lights for me? Will you write that down and send it to me?

Upon submission, you will be paired with a thoughtful editor with interests relevant to your submission, who will work with you to develop your piece. All (copy)editors involved are trans women. Authors are paid a percentage of sales in arrears and may submit simultaneously or previously published work. Percentage-of-sales-in-arrears sucks as a payment model, but for now, this is how I’ve ensured at least some money is getting to writers at some point at least. The use of pseudonyms is encouraged: we are especially prone to having to take down work after a few years, and I’d love your writing to last longer than that.

One to five years after publication, an edition is archived online and physically. This is to give authors a sense that they are writing for trans women solely. The delay signifies that we invite others into this conversation as guests. In taking this project offline, we aim to protect our safety and encourage thoughtfulness. Anyone may submit writing and purchase copies, but this is for transgender women.

To submit or stock, write to: editor (snail symbol) badly (dot) press.

To be alerted when new issues are released, subscribe to this substack, where I will post a sample text and a link to purchase.

♀♀♀♀♀♀♀♀♀♀♀♀♀♀♀♀♀♀♀♀♀♀♀♀♀♀♀♀♀♀♀♀♀♀♀♀♀♀♀♀♀♀♀♀♀♀♀♀♀♀♀

small update: please subscribe to our mailing list, rather than just following our socials, because we’ve already been suspended off Instagram twice

#transfeminism #transmisogyny #feminism #girlslikeus

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rotationalsymmetry · 1 year ago

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Hey so that reminds me. I have this book — Abolition. Feminism. Now. By Angela Y Davis, Gina Dent, Erica R Meiners, and Beth E Richie, copyright 2022 so very recent — that I have yet to crack open and could use some gentle encouragement to actually read.

And here you are, presumably on tumblr to be entertained, edified, and/or have your brain put through a blender for a few minutes. So let’s have a poll.

[Image descriptions:

Book cover (title and authors as above, abstract background in orange, reddish, and violet tones.)

Back cover. Purple background. Orange and white text reads: “An urgent, vital contribution to the indivisible projects of abolition and feminism, from leading scholar-activists Angela Y David, Gina Dent, Erica R Meiners, and Beth E Richie. As a politic and a practice, abolition increasingly shapes our political moment — halting the construction of new jails and propelling movements to divest from policing. Yet erased from this landscape are not only the central histories of feminist — usually queer, anti capitalist, grassroots, and women of color-led — organizing that continue to cultivate abolition but also a recognition of the stark reality: abolition is our best response to endemic forms of state and interpersonal gender and sexual violence. Amplifying the analysis and the theories of change generated from vibrant community-based organizing, Abolition. Feminism. Now. traces necessary historical genealogies, key internationalist leanings, and everyday practices to grow our collective and flourishing present and futures.

Table of contents. Includes: preface, introduction, part 1 abolition. Part 2 feminism. Part 3 now. Epilogue. Appendices: intimate partner violence and state violence power and control wheel. Incite!-critical resistance statement on gender violence and the prison industrial complex. Reformist reforms vs abolitionist steps to end imprisonment. Further resources. Notes. Image permissions. Index.

list of other books in the abolitionist papers series, edited by Naomi Murakawa, namely: Change Everything: Radical Capitalism and the Case for Abolition by Ruth Wilson Gilmore; Rehearsals for Living by Robyn Maynard and Leanne Betasamosake Simpson; and We Do This ‘Til We Free Us: Abolitionist Organizing and Transformative Justice by Mariame Kaba

Replicated image in the book of a pamphlet cover created by Jeff George and distributed by Survived and Punished (an organization that advocated for incarcerated survivors of abuse.) There is a large line drawing of a scale out of balance with a man in a business suit, large stacks of money, and sky scrapers on the heavy end and a small group of protesters holding a sign saying “free all survivors” on the other end. Large handwritten text says “no good prosecutors now or ever” and smaller stencil-like text says “how the Manhattan district attorney hoards money, perpetuated abuse of survivors, and gags their advocates.”

End image descriptions.]

#It would be so much less effort to just read say 10 or 15 pages of this thing and yet #It’s not a large book it’s under 250 pages #I literally had not cracked open the book before starting the post so I didn’t realize there aren’t ‘chapters’#So much as three main parts

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centrally-unplanned · 1 year ago

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Alright, last batch:

The first half of these are "Official" Anime Books. We have the Official Guide Books for Yuru Camp & Bocchi the Rock, modern buys from a Kinokuniya. They are what you would expect: character designs, concept art, episode & story guides, cast & crew interviews, etc. I was very happy with the level of photography they have - Laid Back Camp of course has a ton of pages comparing photographs of the actual camp sites with their anime depictions, while the Bocchi book has a bunch of Shimo-Kitazawa scene spotting. The Bocchi book also has a page laying out all of the art used in its EDs, which I really love for their pastel-chibi style, very kino:

But I will admit how standardized this style of book has become is a little sad - these two unrelated anime have nearly identical layouts, because that is how it works these days. There is a reason I am drawn to the earlier history of anime so much, it was way more unfiltered. A minor note though on otherwise very fun buys.

Finally we have Haruhi-ism: The Art of Noizi Ito. This is a full-on waifu book, just a big collection of splash art of Haruhi being Haruhi and the rest of cast dealing with her bullshit with erotic flecks sprinkled throughout. A real whim buy as I picked it up for a few dollars; the used book market in Japan is truly amazing, I get now how people build such massive collections. What is cute though is that Noizi Ito is the illustrator for the light novels; she didn't work on the anime in any real way, and it shows:

Kyon and Mikuru have the greatest difference in design, but the style difference hits them all in some ways. The anime's visual design is of course far more omnipresent that the light novel illustrations are; it makes this book feel like its from a slightly parallel universe, where Ito was brought on to do the designs for the anime so its entire concept is shifted just a bit to the metaphorical left. The Berenstein Bears branch of Haruhi's multiverse, if you will.

The bottom three are more unique - additions to what I would call the "otaku studies" collection, books by otaku doing media or cultural analysis of anime or otakudom itself. First is A New Millenialist Perspective on the Daughters of Eve, by Mari Kotani, which is a feminist & post-modernist exploration of Evangelion. This whole genre of books...well, here is the back cover, in English for your convenience:

"Here, post-structuralist psychoanalytical theory will enable us to define Angel as the representation of 'abjection' in-" okay buddy, put down the weed and step away from the graduate studies applications, lets go for a walk. Seriously, stuff like this was absolutely in the water in 90's Japan; it was going through a huge wave of psycho-analytic sociology that broke into the mainstream. Back in the day there was a tendency to use this stuff as a way to "understand Eva" - that is backwards, Evangelion is not that deep. But instead, you can see works like these as a byproduct of fandom and the media mix - how Evangelion's brand as the "intellectual's show" was propagated and reinforced over time, and how a certain kind of fan related to it. Eva-as-show does not need these texts, but Eva-as-cultural-event was built from bricks like these. Its not the biggest "Eva philosophy" book but was well-enough known in its day, so it should be fun to read.

Okay, I'll be quick on the others: next is Kurahon, by Hideyuki Kurata - manga author of works like Read or Die. This books is a bunch of autobiographical-style essays about him being a complete hikikomori shut-in otaku collector maniac, complete with 2D Girl supremacy tracts and manifestos for the life of the outsider. Its extremely 2000's in its genre, this kind of ideology would die down as otaku culture transitioned fro- NOT NOW, deep breaths, whew, back on topic. Anyway, this books is insane, this is literally the first in-line image in the book as you go through his text:

Kurata is a lunatic, but he is my kind of lunatic, and this text has a level of raw, intense honesty and cultural reflection in it that really makes it stand out.

Last book is an edition of the print series Eureka! Haruhi Suzumiya Edition, which was a literary & cultural studies joint that collected essays on topics. Wait, one sec...sorry, not 'was', 'is', they are still at it! They have an upcoming collection on Tolkein, cool. Anyway, this of course falls into a similar genre of the Eva book as being quite high-concept, but is from a more diverse set of authors and is a bit more grounded. It has a whole section on Doujin and meta-textual elements in the anime fandom of Haruhi, excited to read that.

Okay okay, that is the Japan books, generally. Though I did realize that I had imported a few things before that I never posted about when they arrived, I might throw those on the stack and do a post about a few...

#evangelion #haruhi #bocchi the rock!#yuru camp #Ash Japan Adventures

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