#I’m bias against that identity and I recognise that | Explore Tumblr posts and blogs

scarlet--wiccan · 2 years ago

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I received a lovely DM a the other day and I ended up providing this person with a pretty long response to their question, so I thought I would share my answer to my main page because it’s not something I’ve directly addressed before.

Also, my inbox is, for now, open to anon and regular messages. People keep sending me questions like this over DM or on my other accounts, so you can just submit asks, it keeps things simpler. Anyways, the question went like this:

I thought about Billy’s Judaism and Tommys trauma/abilities and mainly as an X-men fan, I thought about them being mutants but I often equated how Billy’s Judaism was always hidden, it seemed like it was a metaphor (to me) for him being a mutant. I also recognised Their Roma identities were also translucent/complicated throughout comic history, alot like their X-genes (complicated and hidden). So I equated both the two together. The Magnus family has suffered so much throughout retcons and I thought billy and tommy’s mutant status was practically the only thing keeping them connected towards magneto & the rest of their family besides Wanda. I’ve had my thoughts about it as well, like Billy can pass just as a witch whereas Tommy cannot and I thought I should ask a Romani person how they would feel on that. I always thought their mutant identities were important at least, to me. It represented their “complicated parts” of their history/family.

I’m not sure if you’re asking me if I think mutant identity is important to the narrative, or if it’s important to these characters as people. I’ll try to answer both, but it’s complicated either way. The short answer, which you’re probably not going to like, is no. That said, whenever I am looking back at material from before 2015, I still view the characters as mutants and analyze their experiences through that lens. It’s complicated and annoying, because this retcon never should have happened and it messes with continuity. My answer to this question is not about personal bias, I am just trying to dissect the material as objectively as possible.

Wanda and Pietro have been around for a long time and have received a lot of different character treatments. I find that in most of their stories from the 70s, 80s, and 90s, mutant identity is an extra layer that is tacked on to facilitate stories about marginalization that could not have been told explicitly during that time period. They’re not directly involved in the mutant community. Instead, they’re Avengers characters who happen to be mutants. Wanda and Pietro are written as perpetually misunderstood outsiders who are frequently discriminated against and tokenized. To me, as a Romani reader, it’s very obviously a metaphor for racism and xenophobia. I think there are a lot of readers don’t see that clearly, because they don’t understand Romani issues first-hand and they’re not as interested in learning about us or representing us as they are in fictional mutants.

I do like their relationship with Magneto and I think it’s very valuable in terms of representation, but it’s never been the most interesting thing about them. Their early life experiences with Django and Marya, and everything that happened with Chthon and the Evolutionary are what actually drove their plot lines. Wanda’s desire to study and develop her relationship with magic is what fueled most of her development. Unfortunately, when we get to the 90s, that starts to become overshadowed by the narrative that they are Magneto’s tragic lost children who have become these ostracized, self-hating mutants. That really hit the fan with House of M, which blatantly disregarded much of their previous characterization, and kind of ruined the characters for a long time. Taking them out of that relationship with Magneto and mutantdom allowed the characters to actually return to center for the first time in decades.

So, as much as I think the retcon was bad because it fucked with continuity, and it broke them away from their Jewish background, I think it was better for their growth and their storylines— especially Wanda. Mutant drama was not serving these characters well, and it had not been for a very long time. There is a part of me that actually likes their new backstory more than the original. In the current version, Chthon and the Evolutionary prey on the Maximoff family specifically because they are Romani and they come from a particular Romani cultural tradition. Those themes about racism and the ways in which Wanda has been exploited and ostracized are able to be more literal now, which is good because modern writers are finally interested in having her face her traumas head-on and take back her power. That never would have happened if she was still being defined as a ~crazy~ mutant reality warper. Again, that doesn’t mean I think the retcon is okay.

For the characters as people, yes, they absolutely valued their mutant identity. Pietro, as time went on, became more involved in the mutant community and felt the pressure of Magneto’s legacy more profoundly. Wanda always expressed pride and never wanted to compromise her mutant identity even though she felt distanced from that community; she spoke often about anti-mutant discrimination and she was very compassionate to Magneto after he came back into her life as a father figure. She was written as rejective of her mutant identity in the 2000s and early 2010s, but, like most things from House of M, I think that was a betrayal of her earlier characterization. For better or for worse, Trial of Magneto showed that Wanda still cares deeply about mutantkind, has gone above and beyond to make things right since the Decimation, and will continue to be an ally however she can.

Billy and Tommy get their powers from Wanda, so I think they should just match whatever she is. Their origin is tied specifically to her magical storyline, not the mutant stuff. If Wanda’s not a mutant anymore, I think it’s perfectly fine that her kids aren’t, either. These characters have never been aligned with the X-Men or any kind of mutant community. Tommy’s experience with his parents and the detention center where he was abused are derived from him being a “mutant,” but it’s not difficult to tweak the context on that.

Obviously, Billy and Tommy have the same powers as Wanda and Pietro, and when Young Avengers was written those powers were mutant powers, so that shared genetic trait was proof of their relationship. It that sense, them being mutants was textually important. Billy being a Jewish character was also, I believe, an intentional choice that Heinberg made to further cement a connection between him and the Magnus family. Even though he was reincarnated, his heritage and ethnic background remained similar— that why I’ve always insisted that the character is also Romani. We can keep all of these identities intact because it’s magic! I’m actually surprised that you think his Jewishness was ever “hidden.” I think that it was very prominent in Young Avengers and Children’s Crusade.

In terms of powers, Billy’s chaos magic comes from Wanda and her experience with Chthon. Because his magic and his identity as a witch come from Wanda, specifically, they have to be contextualized and understood first and foremost through his Romani heritage. Again, being a mutant is like the least relevant part of that whole equation. Readers don’t see that because they don’t understand our culture and history, and they’re not invested in our representation.

In the year 2022, I don’t think we need to rely on a metaphorical minority group to represent “complicated” multicultural and multiethnic backgrounds. We can just accept that Wanda is a Romani woman with Jewish ancestry, and her children are therefore also Jewish and Romani. They arrive at those identities differently, but that’s okay because that’s what it’s like being in a mixed immigrant family anyways. That does not erase Billy’s upbringing or his Judaism. It does not invalidate the Kaplans. This is a fantasy plot, we can just let mixed race people exist. We can let Jewish people of color exist. It’s okay.

#maximoff family #magneto #erik lensherr #wanda maximoff #pietro maximoff #billy kaplan #tommy shepherd #robintext

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writcraft · 5 years ago

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Gender Reform (UK)

In case anyone needs to hear this from me, allow me to make it abundantly clear. I feel strongly about protecting women from the gender-based violence and misogyny they experience throughout their lives. I unequivocally include transgender women within that remit and do not distinguish them as separate or apart from that purpose, because they are women. I wholly support the use of the phrase ‘people who menstruate’ as a more inclusive term which captures our trans men and my non-binary siblings.

I have been mulling over what to post about JKR’s ongoing statements, hoping to use my own research and experience working with trans people who are in the process of transitioning to add something valuable, but I’ve found myself becoming increasingly exhausted and angered by my concerns that the crux of the issue is getting entirely lost. That was exacerbated today by the bringing out of receipts with this scientist said one thing, this scientist said the other, this is one trans experience, this is another seems to me to risk descending into academic back and forth. I want to go back to the very basics of the issue at hand, which are driven by proposed reforms to UK legislation.

In the UK there have been numerous calls for a reform of the Gender Recognition Act 2004 to enable self-determination of gender on passports. Despite my personal feelings on the matter, which are the right of transgender people to live peacefully and without harm is paramount, the knowledge (from multiple first hand accounts and my activist work) that it takes literal years to medically transition in the UK and the fact that as a queer person I find debating someone’s identity deeply problematic, here’s the very bare bones of what I consider to be the two key GRA issues and why you should, if you’re in the UK, be writing to your MPs and lobbying for these changes.

The UK government intends to scrap plans to allow people to gender self-determine on their passports.

The ability to allow people to do this has been debated for a number of years and somewhat surprisingly it was the Tories (under Theresa May) that suggested this idea of ‘gender autonomy’ would be progressed. Now, from proposals leaked to the media, it seems those advancements might be ditched. So why does the ability to determine ones own gender identity on a passport get met with such fearmongering? I’m honestly not entirely sure, and that’s not because of my ‘pro-trans bias’ or inability to consider any possibility of abuse, but rather because we have a comparable precedent.

In July 2015 Ireland passed the Gender Recognition Act which basically allows exactly what those of us lobbying for gender recognition reform in the UK have been suggesting. As far as I’m aware in the eight jurisdictions have introduced self-determined legal gender (Argentina, Malta, Denmark, Ireland, Norway, Sweden, Colombia and Belgium) there have been no reports of this power being abused. There are checks and balances in place and I don’t understand why in this ‘debate’ we’re not discussing the countries where this is already good law.

According to research in Ireland 230 people have relied on the Gender Recognition Act so far and by way of reminder Ireland has a population of over 4 million, so there has been no ‘floodgate.’ There also hasn’t been any erasure of women’s rights or of same-sex partnerships. In actual fact, as a country whose politics was controlled for many years by the Catholic Church, women’s rights in Ireland were kind of terrible. The Abortion Referendum was a huge turning point in 2018 and same-sex marriage became legal in November 2015, a couple of months after the Gender Recognition Act was implemented. There has been no erasure of ‘lesbian’ and ‘gay’, the fight for women and queer people more broadly continues and the ability of people to self-determine their gender on their passports appears (at least on my research) to have had literally no impact on those movements.

Part of the leaked reforms suggested a form of ‘bathroom bill’ might be introduced in the UK which would deny access to people based on biological sex.

You cannot say you stand in solidarity with trans people and support this because you are supporting a legislative shift that would strip away the rights trans people already have. In the UK the notion of a ‘bathroom bill’ would be a new piece of legislation. That means that all the debates and arguments about men masquerading as trans to try to gain access to these spaces would already be a thing and yet these issues aren’t being reported about why? BECAUSE TRANS PEOPLE ARE NOT PREDATORS. The problem DOESN’T EXIST. To your ‘well if ANYONE can self-identify’ point above, when was the last time you took your passport to use the loo?

My suggestion is the government works on providing more funding to already desperately underfunded crisis centers and supporting those in need of those spaces which in many cases will include the trans women who already use them. Violence against women is heinous and it is not disputed. That it primarily occurs at the hands of men is also not disputed. Introducing some new legislation that vilifies trans people and allows random members of the public to police a vaguely ‘queer’ looking person’s right to access safe spaces (or just go to the bathroom) does literally nothing to address the violence that women are routinely subject to and arguably runs the risk of inciting more violence.

If you are queer and not trans but you are in any way gender nonconforming, I would suggest these proposals should be of a concern to you too.

In conclusion

There is SO MUCH NOISE on social media about this right now and arguing with someone like JKR on Twitter is something you (I’m speaking to my trans, queer people) need to do in a way that doesn’t harm your own mental health, because there is a POWER IMBALANCE involved. I’m not saying don’t speak up at all (silence = violence and all that) but just, be careful. Please.

We are not in some deconstructionist, queer theory, fourth wave feminism etc. debate. Of course you can find scientific, psychological, feminist, social justice, whatever field of study you’re working with, arguments on the pro side and on the con side. Arguing about someone’s right to mental and physical safety like it’s an academic point scoring debating competition is gross.

You cannot read that 91% of transgender murders in America 2019 were Black women and say that is not a feminist issue. You cannot say you stand with those transgender people but not the transgender community as a whole when you understand that the trans panic defense continues to be used today in America as a justification for violence against transgender people. You cannot know that and fail to recognise how the narrative of the trans villain infiltrating ‘women only’ spaces plays into precisely those hands.

As LGBTQIA people we literally owe our rights to gender nonconforming people. Don’t do them a disservice now by gatekeeping access to a space we all want to call home.

#transphobia #trans activism #anti-jkr #anti-terf #speaking out #queer rights

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alma-berry · 5 years ago

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1) I think it's really dangerous to suggest that a non-straight character being popular is tied to their 'pornographic value' and blatant proof of mass fetishisation bc it achieves the exact opposite of normalising lgbt ships (it pushes them to the margins/silences discussions centred on them) and it creates a damaging narrative of lgbt characters being nothing but their sexuality and having no hope of ever being recognised as more than their sexuality/romantic inclination.

(I’m gonna answer each part of this ask individually cuz this is long and I have a lot to say)

2) I rarely see these kind of discussions aimed at straight ships. I've never seen someone imply that Julian is a fan favourite because he's with Emma and had sex with her. The mixed reactions Jace and Clary got, and are still getting, have little to do with their sexual orientation. Most people I've talked to are side-eyeing the J/C/M triangle bc a lot of us are over love triangles, not because Cordelia is getting in the way of J/M.

I couldn’t agree more. Our need of queer characters is not in order to create our own little bubble. We need queer narratives to be normalised, such as queer identities. Normal not in a form of “same as” but in a form of “just as valid as”. That why you’re so right, and we need to be very careful in the way we phrase ourselves and our demand for more queer representation. This world consists of so many kinds of people, and each and every one of them should be appreciated on its own, by its own right and its own story, and not just as a title or a box that should be checked.

3) As far as wlw ships are concerned, the silence around them is in part the result of Cassie's own treatment of her (sparse, so so rare) wlw characters. There's very few of them and the ones we do have, Cassie's own investment in them is lacklustre. They are sidelined, barely mentioned, rarely involved in the main plot. Exiled, chained to a sickbed, they don't get to shine as protagonists braving their own adventure.

Leaving Anna aside (who so far is a remarkable character), I agree with you completely. Intentionally or not, this is the case. The wlw representations in TSC is weak, inconsistent (I spoke before of how Helen is a completely different character in RSOM than she was in Tales and TID) and lacking of authenticity. The story of how Haline met in RSOM fell so flat to me, almost as a gag. They have some beautiful moments in TID which I truly love, but as a whole I’m disappointed of how they’re portrayed. But, we can ask what the reason for it might be. Is it because CC has something against wlw ships? I don’t think so. I think the problem is planted in that they interest her less than other ships. Or, we might say, ships with men. I’m NOT saying this is a woman-hating thing, not at all. But I have a lot of criticism towards the way she writes female characters, and I think this specific lack of authenticity in her wlw ships is originated there.

4) Cassie could have made Cordelia a lesbian of colour. She could have matched her with Lucie instead. She could have made Kit, the lost Herondale, a girl instead. Could have written Ty as an autistic, gay girl. Heck, she could have made Julian a girl! She had plenty of mains to choose from as potential wlw rep and she didn't. She either made them straight or mlm and it was her decision. If there's a bias in the fandom, it certainly echoes the one in her books.

Now, this I don’t agree with. There’s a story, and the story has to make sense. Making some characters female or wlw just for the sake of it is not something I think she should do. Also, she doesn’t owe us more representation, she’s doing quite a lot in that department. We can criticise the quality of it, but calling her out for not doing more, or more in the way we want her too, is not fair. I understand completely that we have our own needs of female wlw characters, I truly do (The only characters I can meekly identify with is Helen, which sucks for reasons I already explained), but we can’t pretend we’re owed that by every single author on earth, let alone an author who already is quite a pioneer in that department.

5) So what I'm saying: while she has good rep in her books, her main characters are still overwhelmingly straight and if they are not straight, they are more often than not mlm. And while I'm grateful for the world she has created and every single one of her lgbt characters, I don't think it's warranted to act as if her books treat male and female characters equally, as if there's a perfect balance between m/f, m/m and f/f ships, and insult her fans for working with what she gave them.

No, her male and female characters are not balanced. Not in so many ways… the more problematic thing to me is from a feminist point of view and not from a queer point of view, honestly. But this is not the subject at hand - so no, we can’t say theres a balance, but must we? The world is more straight than queer, that’s a fact. Not that I would’ve minded a completely queer cast of characters (it would be a dream come true) but why be angry about that? Yes, she writes far more mlm than wlw couples, that’s true. Obviously she likes (and frankly, succeeds) writing them more than the others. But should we be spiteful because of that?

Her comment on that post is insulting by all means, I said it loud and clear. Not sure if its relevant to how were “working with it” though.

#queer representation #queer lit #wlw representation #haline #tsc #cassandra clare

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thunderbirds-are-fab · 5 years ago

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The Mechanic

An unnecessarily long fan essay examining the character ‘The Mechanic’ from Thunderbirds are Go by thunderbirds-are-fab

Pretty much since the Mechanic was first revealed as an upcoming character to be introduced into Thunderbirds are Go, he’s been surrounded by mystery. There were a lot of wild fan theories about who he could be and if he was related to any original character in particular (He was either Brains’ brother or his father, Kyrano gone mad, and even Jeff in some weird disguise trying to traumatise his children to someone), but he has since turned out to be a completely new character and therefore had a lot of possibilities as to how he could fit into the established TAG universe.

Sadly, two seasons since his introduction we still don’t know all that much about him or his super villain origin story, and with the conclusion of Season 3 we likely never will. The writers put this guy on the back shelf, and this is why I’m writing an essay piecing together all the messy details we have regarding the character of the Mechanic. It turns out there’s quite a lot to talk about, so get comfy.

*Episode spoilers ahead if you haven’t watched Seasons 2 and 3*

The biggest tease about the Mechanic was his hinting that he knows Brains very well or even personally in Earthbreaker, but after that it’s not really brought up again. Massive wasted potential there. He made it sound like he and Brains were old rivals from long ago, but Brains doesn’t show any signs of recognising him. Brains himself never really reacts to the Mechanic’s hints that they might know each other during Earthbreaker or after, and never even tries to guess at who this masked engineer may be, which feels ridiculous.

“Hey Brains, in all your years of being one of the world’s best engineers, did you ever meet anyone in your field of expertise who was capable of making an army of robots completely on his own, looked like he could bench press MAX with one hand, and maybe seemed a little power-hungry and unhinged?”

“Nope, sorry. That sounds like it could have been anyone.”

Surely if they were both brilliant inventors working on similar stuff, they would have mutually run into each other before???

Not only does Brains not keep up his end of the ‘we-may-know-each-other’ plotline to make it believable, but after Earthbreaker the writers seem to drop it from the Mechanic’s character too. He doesn’t show the same ominous bias towards focusing on Brains again whenever he crosses paths with IR, and if anything he seems to reacts with distrust towards Brains when he first offers to help him in Home on the Range. In Brains vs Brawn Brains offers to help him again, but still acts wary of him wanting to get close. If they had known each other before then this could have been a great bonding moment for them to reconnect and win each other’s trust, but instead Brains has to use the promise of “engineer to engineer” which is as far as their personal connection seems to go in the end.

Brains also only ever calls him “the Mechanic” the same as everyone else does, and going into Season 3 this lack of a proper name becomes more of a problem for the Mechanic’s character as a whole. We finally see him without his mask in Chaos Part 2, but a face reveal is all it is. It’s not a grand finale Scooby-Doo moment of “Aha! It was old man Jenkins the janitor all along!”, and this again feels like wasted potential to me. What’s the point of having a masked villain if he’s still exactly the same person without the mask, just a little sadder?

Between being taken into GDF custody in Brains vs. Brawn and then being negotiated for release in Break Out (a 20 episode gap, which is quite a long time span in TAGverse), the GDF don’t seem to have done any background check on him whatsoever. Everyone, including Colonel Casey, still refers to him as “the Mechanic”. If even the in-world authorities couldn’t find this guy’s original identity, then it seems that the entirety of who he was before never existed, and that’s because the writers never properly wrote it. Don’t get me wrong, I adore the TAG writers and have rarely had to fault them on anything in 78 episodes, but fitting their OCs into the series for more than an episode or two is by far their biggest weakness *coughcoughwhydidn’tyouuseEOSmorecough*

His backstory was clearly set up before his introduction, but then scrapped for whatever reason. Perhaps with everything else going on in the show they simply didn’t have time for it? This I can understand, because there’s only so much time in a children’s show and action has to come first in this genre, but it opens up a lot of additional plot holes when you keep trying to build a story on top of a poorly-established character.

What I’m trying to get at here is that without ever having his personal motivations revealed, looking back on the Mechanic’s pervious actions in the story gets a lot more confusing, and makes his character development and the plot development between Season 2 and 3 more difficult to understand.

I’ll split these last points into two parts:

1. How do we know he built the the T-Drive when he’s unidentifiable?

In Break Out it’s suddenly revealed that the Mechanic was the engineer who designed the first T-Drive engine/Zero-X prototype... But how? How do they now know that??? Surely being the engineer who came up with this fantastic revolutionary warp drive for the spaceship that allegedly killed the great Jeff Tracy would make this guy pretty famous? His former name should probably be common knowledge, and yet he’s still only ever called the Mechanic. It’s been suggested to me on anon that maybe he’s shunned his former name in favour of the Mechanic moniker, which is fine, except that’s no reason for all of the other characters never to speak his true name even when he’s not there to hear it. To us he’s still just the villain we were introduced to, never the man he was before. Without being shown how that past and him today are linked, it’s difficult for us as an audience to attach such important prior information to a character who doesn’t seem to have previously existed.

2. Was he ever really a true villain, or was it all because of the Hood? And does his change of heart make sense?

We’re never told how the Mechanic came to be. Why did he go from brilliant engineer, to turning over to the dark side and becoming a puppet of the Hood? In Break Out he hints that the Hood manipulated his bitterness over ~something~ in order to get him to work under him, but again it’s frustratingly vague! In the beginning we assumed it was through some personal grudge with Brains, but as I’ve already gone through at length, all that backstory just got washed away. Another anon has suggested to me that his rivalry with Brains was manufactured by the Hood. He didn’t know Brains personally, but developed a grudge against him through being compared. “Brains is brilliant, but you’re a failure”... because of the Zero-X disaster? He’s clearly as good as or even better than Brains when it comes to inventing things, so he had to have had something big happen to him in order to spiral downwards as he did. The Zero-X disaster would certainly fit the bill for that, but it’s a shame to leave all that to speculation. If it were true, then would it have been so hard to fit that into the show?

Anyway, the Hood somehow fostered a hatred for IR in him that served his own motives, and so began their partnership. He’s clearly very strong, so that’s probably why the Hood needed extra control over him via cybernetics. It’s in Brains vs. Brawn that we first learn that the Mechanic is at least partially being controlled by the Hood. Since the Hood spent most of Season 2 in jail, this was maintained through a connection between his bionic eye and some kind of cybernetics that the Mechanic has (forcibly implanted by the Hood or just already there and hacked, we don’t know). Partially coerced and partially forced, but we will never really know how much of each.

The Mechanic is a lot more violent than the Hood ever is on his own. The Hood may not care much for other people or the collateral damage he causes (e.g. in Falling Skies he’s fine with abandoning the Estrella Grand hotel full of people to crash and burn if he decides that he doesn’t want it anymore), but it isn’t really his priority. For the whole of Season 3 he makes the Chaos Crew do the physical dirty work he doesn’t care for (btw I let the Chaos Crew off for not having much background story because their “we’re bad just because we enjoy being that way” motive stays fairly consistent throughout the show. They aren’t that complicated).

In contrast, the Mechanic has frequently plowed forward with no regard for anyone’s safety. He doesn’t make sneaking around his Plan A like the Hood, and he doesn’t hit and run for fun like the Chaos Crew. He’s brutal. Earthbreaker really sets him up for being a ruthless villain because he’s so focused on getting what he wants that he’s willing to take down anyone who gets in his way. Even when Scott asks for him just to let IR work around him to rescue the civilians below, he attacks! He’s a genuinely scary and thrilling character for how relentlessly destructive he manages to be every time she shows up in Season 2. Seriously, just read his wiki page and you’ll see it’s got ‘perfect villain traits’ written all the way through it.

Then comes the redemption arc.

In Brains vs. Brawn he is subdued and chooses to trust that Brains can redeem him. In Break Out he shows remorse for his actions. He believes that he deserves to be in prison and is beyond redemption for what he’s done. He puts Kayo’s safety before his own and saves her life. He could have disappeared, but instead comes to Tracy Island of his own free will and voluntarily works with his former enemies. That’s a pretty big change from someone who was hellbent on destruction regardless of innocent people begging for their lives! It’s a pretty big ask to believe that all of that relentless anger and complete apathy towards human life was only there because the Hood was in control the whole time.

There’s something else which leads me to believe that “I was being controlled by the Hood” isn’t the watertight excuse it’s presented as. The Mechanic makes it sound like he’s totally stuck and irredeemable without the Hood’s control being removed, but prior to that happening in Buried Treasure he makes choices of his own that the Hood could’ve stopped.

Between being dumped by the Hood in Escape Proof and Brains vs. Brawn, he’s pretty much a villain under his own steam. He’s working independently on continuing Project Sentinel, which has the aim of using to destroy the Hood for having control over him. Sure, he may only be doing bad things because he’s desperate for revenge against his abuser, but he’s still willfully endangering a lot of other people in the process. The Hood may have lost interest in him during that period, but the control system was still in place that whole time - and he was resisting it! If he can manage to hide himself from the Hood and work directly against him despite that, then he still has some free will of his own.

In Chaos - Part 2 Havoc learns the Mechanic is in space prison, which is why the Hood has lost control over him. Arguably the HEX probably had a faraday cage around his prison cell to block the Hood’s influence, and it is stated that it’s harder for the Hood to influence him from space anyway. But after breaking out and coming to Tracy Island of his own free will, shouldn’t being back on earth have put him back under influence again? The only time he had to fight against the Hood’s direct control after that was when Brains disturbed the control software and alerted the Hood, who then suddenly reveals that he has a fail-safe that can wipe the Mechanic’s memories. Wow. If he could really do that, then why didn’t he do so in Escape Proof and not leave the Mechanic as the potential enemy that he turned out to be? Sure, he later says that he still has plans for the Mechanic, but you would think that during Brains vs. Brawn when he’s getting shot at by a giant lazer whilst being thrown around by IR, and the Mechanic is resisting his commands to stop, that then would have been the ideal time to use the secret factory reset ability?

Afterthoughts aside, I’m still convinced that the Mechanic had a lot of evil in himself that wasn’t just there because of the Hood, and it’s really a wonder that the Tracys let him into heir home after how many times he tried to kill them. i really don’t blame Scott for staying suspicious, even though he was the one most obviously anxious to find a way to get his father back.

Despite all the questions that the show failed to answer about him, I still think that the Mechanic was a good villain. Whatever his super villain origin story was supposed to be, I think it had a lot more potential to be morally complex than the origin they ended up giving the Hood. It’s a shame that writers across the board these days often don’t have the time to write villains more complex than the trope of “once upon a time somebody made me sad, so I decided to be evil to get revenge”. I know that somebody out there will be looking at this unnecessarily long post and screaming But fab, it’s just a kid’s show! Kids won’t care about tying up offscreen plotlines or any of this crap! And my answer is yes, I know that. That’s why I’m not actually mad about what the writers did with the Mechanic’s character. The writers of TAG did a great job and the show works as it is, but I can’t help but feel that they only had to push a little more or add a line or two somewhere and then all of these questions I have about the Mechanic could have been answered. A little backstory goes a long way in fleshing out a character, and Thunderbirds is a franchise with a lot of history.

#the mechanic rant #the mechanic #this is long overdue #and way too long in itself #it's over 2000 words oops #but there's a lot to analyse #why couldn't i write this much for my essays?#and it was highly anticipated by some #so i hope some of you like it #and i hope i got all the details right #Thunderbirds are Go

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peteywillproceed · 5 years ago

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The Devil In Disguise - Part 1

A/N: Hi guys, wow this has been a long time coming! I’ve been writing this whilst being sick in bed, so I hope it’s not that terrible! As always, I hope you like it, constructive feedback is appreciated, and if you wanna be added to the taglist just send me an ask! x

Summary: Y/n belongs to The Circle, a criminal gang known for its ruthlessness and brutality. Given a mission to kill Spiderman, Y/n attends Midtown High undercover to seek him out, not intending to feel more for one of her new friends than she should. Meanwhile, Spiderman must deal with the increasingly dangerous Huntress, never suspecting her true identity might hit closer to home than he could ever believe…

Word Count: 4,150 (the very defintion of getting carried away!)

Prologue

The New York skyline glittered in front of you as you stepped into the street and the sun began to rise. Ribbons of orange and yellow light were scattered through panels of glass lining the roads, buildings stretching so far into the sky you had to squint to see the tops. The acrid smell of smoke from exhaust pipes burnt the insides of your nostrils, but the feeling was so new, so exciting, that you barely thought about it, choosing instead to glide along the pavements as horns honked and the city came alive.

All it had taken was a three-hour flight from Minnesota and awkward introductions to your cover family for you to get here; now it was Monday, the first day back for the kids at Midtown Tech, and your first day period. Your school bag felt foreign on your shoulders, the weight of textbooks and assigned reading an alien feeling. You’d almost ignored the homework, like you’d always done when your dad tried to assign you extra reading for your training.

But you knew if you wanted to fit in, the bad girl image you’d worked so hard to create over the years wasn’t going to work, so instead you’d stuffed the suit Brenton had given you into the dark depths of the bag and buried it with chemistry. Begrudgingly, you’d cast an eye over the pages in an attempt to figure out what you’d be expected to do at this school, and you hadn’t understood a word. How Brenton had wangled your entrance to the best science school in the country was truly a mystery.

You swung through the gates and pushed your sunglasses up on your head, ignoring the surprised looks from students who weren’t used to newbies. You winked at one of the boys staring with his mouth open and spat the gum you’d been chewing into the nearest bin, catching yourself before you let yourself go too much. You were Brooke Loader, chemistry nerd and all around good girl, whose wardrobe consisted solely of grey cardigans and granny skirts. You weren’t Y/n L/n anymore, and you had to be careful.

“Excuse me?” you caught a guy’s shoulder as he rushed past you and looked up at him through your lashes. “Can you tell me where B27 is?”

“You’re new?” the guy ran his eye over you questioningly “I’m Flash.”

“Err, nice to meet you. But I’m really just looking for homeroom.”

Flash nodded, a smirk appearing on his face. “That’s round the corner, good luck with Harrington.”

Without another word he spun on his feet and disappeared into the throng of students that had appeared in the corridor. You glanced down the hallway he’d pointed to and noticed a bunch of kids streaming into a classroom, figuring that was where you needed to be. You glanced at your watch, noting you were perfectly late, and strode towards the door.

“Ahh, Miss Loader, I was wondering when you were going to show up,” a voice dripping with sarcasm drawled as you poked your head through. You glanced up at the male voice and saw the guy you guessed was Mr Harrington, giving him a small wave as you stood awkwardly in the door. You’d never played the quiet, unsure girl, and it was taking all your energy to bite back your retort.

“Well, please take a seat. There’s one next to MJ,” he pointed towards a girl with long, brown hair, whose head was buried in a book. As you swung into the seat, you clocked the title and leaned over to whisper to her.

“To Kill A Mockingbird? That’s my favourite.” Of course it wasn’t, you’d never read the stupid thing. But it was Brooke’s favourite.

MJ raised her eyebrows, squinting as she tried to make you out. Her gaze was so penetrating that for one, awful minute you thought she’d figured you out and your cover was already blown. But a smile soon spread across her face and she closed the book.

“Mine too,” she nodded, reaching her hand out “MJ.”

“Brooke,” you grinned, glad you’d got through to her. You glanced nervously towards the front of the class, but Mr Harrington was busy at his computer and you reckoned it was probably safe to talk.

“So, you’re new then, how’d that happen? It’s senior year.”

“Parents moved,” you shrugged, tucking a strand of hair behind your ear “guess they just couldn’t leave me behind.”

It was a simple cover, but MJ burst into laughter and your joke, earning herself an annoyed look from Harrington. “What’s your specialty?”

“Chemistry. But I gotta be honest, I didn’t really think I’d get in here.”

“Really?” MJ raised an eyebrow “why’s that?”

“I bombed the entrance tests,” you pretended to look ashamed, glancing back down at your desk “I kind of feel like I don’t belong.”

“Don’t be stupid, what have you got next? The bell goes soon and I can walk you there.”

“Wow, thanks. Err, I think I have History,” you pointed at the print out of the timetable you’d grabbed from reception and MJ smiled.

“Me too. You’ve got lunch the same period as me and my friends, I’ll introduce you guys. You’ll meet more friendly faces like that.”

You didn’t know why you felt so relieved, you hadn’t been worried about making friends, but there was something about MJ that made you want to impress her, even if you were lying through your teeth to do it.

The bell rang, a screeching sound you definitely had not been prepared for, and MJ laughed as your hands flew over your ears. “Don’t worry, you’ll get used to it.”

“It’s like a fucking banshee,” you muttered, eyes widening as you realised what you’d just said. Brooke Loader definitely didn’t swear. “I..I mean…”

“Brooke, chill, you can swear, I don’t care!”

“Oh okay,” you took a breath, bracing yourself for anymore slip ups. You’d been here less than half an hour, and already you were royally screwing up the only job Brenton had ever entrusted you with.

As MJ walked with you to your next class, you chatted animatedly about the city and everything there was to do. You kept trying to slip in Spiderman, but she brushed off any mention of the superhero, and changed the conversation back to what you’d been talking about originally. She didn’t seem like the kind of girl who’d be interested in what celebrities got up to anyway, and you made a mental note to try and bring him up in a different way.

At last, the class started and you could lose yourself in rudimentary history you’d never cared about. There was way too much bias in the subject, you remembered one of your tutors telling you, and the only thing you could learn from a class like that was just how dedicated they were to the government. You scribbled notes like your hand was on fire, staying as quiet as you could, but none of what you wrote down was what the teacher was lecturing. Instead, you made a plan of attack for finding more about the webslinger you’d been assigned to take out.

You seriously doubted that any of the students knew his identity, and even if they did they weren’t just going to outright tell you. No, you had to be sneaky here, and you had to bring it up subtly. You decided that, every chance you got, you’d slip in a question relating to Spiderman that would be innocuous enough. After all, why wouldn’t you be curious? You’d just moved to the city that was home to an Avenger!

When the final bell rang, you knew exactly what you had to do. A buzz in your pocket let you know you had a text, the only possible source the burner phone Brenton had given you before you’d left.

‘Status report’

You rolled your eyes. Jesus, you’d been here less than twenty four hours, what did the man expect? Full details of identity and credit card info?

‘Give me a chance. My bed’s barely gone cold.’

Hoping the response was snappy enough to get him off your case, all you had to do now was pray your plan of action worked - if it didn’t, you didn’t want to think about what the consequences might be.

***

“Guys, this is Brooke,” MJ introduced you to the circle of people crowded round one of the cafeteria tables who stared at you like you were the last sandwich at the picnic.

“Hi,” you smiled, casting your eye over them. They were all the same age, and at least you recognised one. Flash was leaning back in his chair, his feet kicked up on the table with a wicked glint in his eye.

“Hey sweetheart, find homeroom alright then?”

“You’re friends with him?” you raised an eyebrow in MJ’s direction and she stifled a laugh.

“Not really, he just hangs around because he can’t convince anyone else to put up with him.”

“Now that makes sense.” Flash rolled his eyes at your comment, but you simply took a seat in front of a brown, curly haired boy who hadn’t taken his eyes off you. “Brooke,” you introduced yourself “nice to meet you.”

“Pe…Peter,” he stumbled, and you bit back a smile. Somebody wasn’t used to talking to girls, you thought, spying the awkward rub of sweaty palms against jeans. He was kind of cute, in a nerdy, never had sex kind of way – his jumper was ruffled and his hair was a mess, none of that nasty gel stuff you’d seen in the movies. He didn’t seem that sure of himself, too busy clutching a pen between his fingers as he scribbled what looked like equations into a book.

“And I’m Ned,” the other guy interrupted, and you mentally shook yourself. You were here for one thing and one thing only, and it wasn’t to be going after guys.

“Nice to meet you, Ned,” you nodded, scooping up some of the brown sludge you’d had slopped on your plate by a slightly grumpy cafeteria lady. “God, the food really isn’t good anywhere is it?”

“Just wait until you try the lasagne,” Peter laughed, suddenly animated. “I’m pretty sure they use cardboard instead of pasta.”

“Good to know,” you smiled, itching to change this conversation into something more interesting. Luckily, MJ swooped in with the perfect question, and you knew exactly how to work that to your advantage.

“So Brooke, what do you like about New York so far?” she asked, and you pretended to think.

“Well, I’ve not seen that much, but I hear Spiderman lives here,” you shot a conspiring look at MJ who shifted uncomfortably in her suit “he’s pretty cool.”

“Uh, yeah,” Ned coughed, and suddenly the atmosphere grew a lot tenser than it had been twenty seconds ago. That was odd, you thought – for a city so hung up on having its own Avenger, these people seemed…awkward. Why? What did they have to hide?

“Do you see him on the streets?” You asked breezily, happily tucking into your food as you felt eyes burning your skin.

“Err, well, he’s pretty busy I guess,” MJ coughed, and you glanced over at Peter who’d remained suspiciously quiet throughout the whole conversation.

“Pete?”

“Wha- oh, uh, Spiderman? Yeah, uh, he’s cool, he’s a cool dude,” Peter stuttered, turning bright red. You were feeling the second hand embarrassment here, and you wanted to scream.

“Do you guys just not like him or something?” you tried to play your comment off, laughing and flipping your hair, but the tension was still thick in the air and you cursed yourself for alienating them already. It was pretty clear they knew more than they let on.

“No, no, nothing like that,” Flash grinned “it’s just he’s only usually about at night so none of us really know that much about him. People make out that he’s Queens’ little superhero but he’s an Avenger, he’s not really hanging about on the streets.”

You nodded, stuffing your face with the disgusting mash before you could say anything else. Another beep in your pocket and you turned away from the group, letting them dive back into their own conversations whilst you slid the burner phone out of your pocket.

Need you to go to Warehouse tonight. Pick up a package and keep it safe. Address to follow.

You let the words wash over you, processing what they meant, and bit back the squeal that threatened to erupt. Finally, you got to go and do something – these people might not be giving you anything, but at least the mission wasn’t completely boring.

“What ya doing?” a voice interrupted your thoughts, and on instinct you slammed the phone into your pocket. Peter cocked at eyebrow in surprise and you let out a little gasp.

“Err, nothing, just, uh, texting my mum.”

“Oh yeah? About what? Plans for world domination?” He smiled at you, and it was so endearing that you couldn’t stop yourself from smiling back. Brown hair curled around his ears and he pushed his glasses further up his nose as he stared at you, making you laugh as he crossed his eyes and pulled a stupid face.

“Something like that,” you finally replied as the bell signalling the end of lunch rang through the cafeteria.

“Hey, what have you got next? Let me walk you to class.”

You were taken aback by Peter’s offer, and were half tempted to refuse him before you remembered how flustered he’d become over the mere mention of Spiderman. Maybe there was something there…

“Sure,” you said, dumping the remainder of your food in the bin. “Spanish, but I can’t speak a single word of it.”

“Ahh, it’s not that hard, sneak Google Translate in if you have to.”

“Didn’t peg you for a cheater, Parker.”

“Didn’t peg you for a Chemistry specialty, but here we are.”

You placed a hand over your heart, mock offended, and rolled your eyes. “You wound me. Only Spiderman can save me now.”

“I’m sure Spiderman would love to,” Peter replied, exaggerating the ‘love’ a little more than you liked.

“I hear he’s rumoured to be a high school student,” you wiggled your eyebrows, spotting your opportunity. Your little risk had been worth it though, because suddenly Peter looked like he’d been caught in headlights, and his entire body went rigid in shock.

“What?” he asked, panic lacing his voice.

“Oh you haven’t heard?” the faux innocence in your voice was annoying even you, but you bit your lip and got on with it, knowing this was the only way to get the information you needed. Stumbling upon these guys was a stroke of luck in your eyes, they seemed to know a hell of a lot about the webslinger. “Yeah, he’s rumoured to be a student here.”

“Yeah, no no, I heard that,” Peter shook himself a little, but started chewing on his lip. Your eyes were drawn to the way his teeth nibbled the skin, but you snapped out of your reverie as he waved a hand in your face. “Y/n?”

“I’m sorry, what did you say?” you smiled, hoping that would make you look less like an idiot. Jesus, you just needed to get on with the job.

“I just said, do you think you’ll be able to find your way to your class? I’ve just remembered I’ve gotta go…sort something out.”

“Oh, yeah, sure, of course,” you nodded, confused as to why Peter was suddenly running off. You hadn’t said anything that crazy, and you hoped you hadn’t offended him. But then again, so what if you had? It wasn’t like you were going to be here much longer anyway.

“Awesome, thanks!” Peter called over his shoulder, but it was pointless because he was already tearing off down the hallway.

You were smart enough to figure out wherever he was going was probably related to the person you were trying to kill, but following him felt…creepy. You’d just met this guy, and even though he may very well have been your best lead, it still felt wrong to tail him round the whole of New York. Instead, you made a mental note to run a background check as soon as you got in that evening, and tried to pretend yourself that you weren’t in the least bit interested in the results for anything other than work reasons.

***

It was late when you finally got to the warehouse Brenton had sent you to that night. You’d been meaning to leave well before eight, but your host family had insisted upon dinner, and it wasn’t like you could tell them you had to run an errand. You ended up getting there just past midnight, and you cursed yourself for not texting Brenton – what if the person delivering the package had gone home? What if they just hadn’t bothered?

You were dressed head to toe in the stealth suit that had been specially made for you, and you had to admit you absolutely loved it. You’d been expecting it to fit baggy in all the places it should’ve been tight, but whoever had made it clearly knew what they were doing – the carbon fibre fit snuggly and the vibranium swords strapped to your back were as light as they were deadly.

Sneaking into the warehouse, you shone your torch around the building, quickly realising it was abandoned. Whatever company used to operate here had long since packed up and left, but small traces of the operation still lingered with pieces of alien tech scattered around the floor.

“You’re late,” a gravelly voice said, and you spun to find the source. The beam from your torch landed on a figure hovering in the shadows, and you rolled your eyes at the theatre.

“Oh cut the dramatics. Code word.”

“Heretic,” the gravelly voice replied, confirming the code name you’d been told to expect “And you?”

“Huntress.”

The figure moved out of the shadows and clicked his fingers. Immediately, white light filled the echoing warehouse, lights flicking on everywhere, so bright you could see every cobweb. You covered your eyes on reflex, forgetting how vulnerable it made you, and blinked hard at the sudden change.

“I have some information for you,” Heretic said, and you crossed your arms in annoyance.

“I thought it was a package.”

“That too. But first: Spiderman knows you’re after him. Our sources say he found a hitman had been dispatched once he took down the Manhattan Chapter.”

“He’s probably expecting an old, white man. Doesn’t put me in any danger, he can’t see my face in this,” you shrugged, grateful for the inclusion of a mask in your suit.

“Do they train all the young recruits to be this cocky?” The man sighed, and you let out a hollow laughed.

“Only the bosses’ daughters.” You had plenty of this, the assumption that because you were a young lady you paled in comparison to what older men could accomplish. It was just the way The Circle was, but you were sick of constantly being underestimated. “Just give me the package.”

The man started digging around in his pockets and produced a small, crumpled packet of wrinkled brown paper. An ethereal, purple glow seeped out from the corners he’d failed to wrap, and you knew instantly what it was. You reached out to take it, but before you could, a line of sticky rope shot down from above you and snatched it from the man’s palm.

“That doesn’t belong to you,” a voice said.

Your head snapped upward, your hand flying to your sword as recognition switched on in your mind. Didn’t you know that voice from somewhere? Red and blue spandex swung from one of the lights, and the masked man was waving cheerily from his perch. Heretic started to run, not getting far before he was pinned against a wall in a fresh web, and you rolled your eyes – and he thought you’d been cocky.

“Actually, it does belong to me, and I’d like it back.” You turned your attention back to Spiderman, who let go of the light he swung from and dropped down to the floor, landing almost silently. He tossed the package lazily in his hand, his head cocked as though he had no idea of the power that tiny object held.

“I think you’ll find it belongs to the United States Government, but I’m sure they’d be willing to lend it to you if you ask nicely,” he shrugged, and you bared your teeth, thankful that you’d switched your voice modifier on well before you’d arrived. He, however, hadn’t, if he even had one, and the familiarity of the voice was starting to get on your nerves.

“I really don’t give a shit about semantics, give me back my package.”

“Why don’t you come and get it?” He dangled the challenge in front of you, waiting for you to take the bait, and even though every fibre in your body told you not to, pure instinct won over.

You started running towards him, leaping into the air and flipping yourself high over his head. As you arced over his body, your hand shot out to grab his mask, but he ducked at the last second and your fingers just grazed with the material. You hit the ground and slid along the concrete, looking up just in time to roll away from a web grenade.

“Come on, Spidey, you can do better than that,” you panted, wanting to hear him talk more. If he did, maybe you’d have a better chance at placing him.

He seemed frustrated by your comment, suddenly becoming a lot more energetic, and threw himself towards you. It was a mistake you’d been expecting, and within half a second you’d brought your knife out and thrown it towards his lunging body. The aim was crap, but it caught his side, and he hit the ground with a thud.

You started toward him, sword in hand to finish the job, a smirk on your face as you ran through everybody you’d met so far and their voices, desperate to figure out which one matched, when all of a sudden Spidey’s hand shot out from underneath him, and you were caught by a flying web that threw you back against the wall. Your head cracked against the concrete, and stars swam before your eyes, threatening to make you pass out as black tinged the edges of your vision.

“Is that good enough for you?” he asked, walking slowly towards you. He was clutching his side and you could just make out a river of blood dribbling from a wound you’d caused. “What’s your name?”

“Huntress,” you bit out, regaining your senses and starting to kick against the web fluid.

“I wouldn’t bother, that stuff won’t dissolve for another two hours,” he shrugged, collapsing to the floor. “Plenty of time to chit chat.”

“I don’t really want to engage in conversation thanks,” you hoped the acid was enough to throw him off guard, and he threw his hands up in defence.

“Hey, lady, you’re the one that tried to kill me, not the other way around.” When you didn’t respond, he continued. “I’d really like to know who’s under that mask.”

“Never gonna happen, this suit’s coded to only come apart when I voice activate it to.”

“Oh, I know, I figured that out as soon as I saw it. I was just musing.”

You stopped, mouth falling open in shock. This guy had just…seen your suit, and figured out how a multi million dollar piece of tech worked? Just like that? So he was smart. No wonder he went to Mid Town Tech.

“Look, I don’t have much longer, if I don’t get home I’ll get in soooooooo much trouble. But have a nice evening!” Spiderman started to get to his feet, the whole conversation feeling surreal to you, and you called out to him.

“Wait! Don’t think this will be the last you’ve heard of me!”

He shrugged in response, pulling the package out of a hidden pocket and turning it over in his hand. “Now that I believe.”

All at once, he was gone, swinging out of the warehouse and leaving you trapped in his web. You tried to wrestle one of your swords from your back, but it was impossible to even move your wrist. Grumbling in defeat, you let your head fall back against the wall and grimaced at the pain. This was all so ridiculous, he shouldn’t have even been able to touch you, let alone pin you up against a bloody wall. You’d let your guard slip because you thought his voice had sounded familiar, and you’d got excited that maybe you’d already run into him.

Next time, you wouldn’t be so stupid.

Taglist:

@jinxfanfics @zabdisamor @jillanaholland @ihopethatwemeetinanotherlife

#peter parker fanfiction #tom holland fanfiction #spider man fanfiction #peter parker x reader #peter parker x y/n #tom holland smut #peter parker smut

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blackswaneuroparedux · 5 years ago

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Anonymous asked: Do you have any tattoos? Piercings? If so, where? (You are an ex soldier)

The answer lies in your question. I was an officer not a soldier. Generally speaking British army officers - if they are from privileged backgrounds and most of them are in one way or another - don’t have any tattoos or piercings. It’s simply frowned upon.

Within the army officer corps there are one or two exceptions of course but I would suggest they had a tattoo after a crazy night of excessive drinks or some regimental or mission bonding ocassion. I won’t address the Royal Navy or the Royal Air Force as I’m not really qualified to speak about their traditions and customs with a degree of authority.

Tattoos done by the army rank and file is their business. It never bothered me when I served because I judged them by their proficiency to perform at the highest levels demanded of them. I respected them even if I had a personal dislike of tattoos.

I especially dislike tattoos on women - on men, there might be tasteful exceptions but not what I have seen - because to me it feels too plebeian and narcissistic.

Too often tattoos on a woman say two unappealing things to me: ‘hey, look at me! me! me!’ or it’s a latent cry for help. It’s not elegant nor is it classy. It��s rather naff and betrays a lack of taste.

If you are a woman and you have a special mantra for life, or belief, or saying that helps you get through the day, it’s perfectly fine to have it jotted down in a nice little book somewhere, not scrawled all over your forearm. Or worse on your back where you can’t even read the damn thing.

Tattoos are about self-expression I hear some plead. Really? To me it’s the ultimate desperate cry of ‘I’m so individual’. Look around. It has been said that roughly half of millennials have one, as do 36% of Gen Xers, according to a recent Harris poll done in the US. The number of Americans with at least one tattoo has jumped 50% in the past few years. I don’t know the figurs in the UK and Europe. If you insist on making a statement then perhaps it’s more original to have a pure, blank canvas.

Are tattoos artistic? Yes, perhaps some are, arguably. But your body is not a modern art installation.

Even beautiful artwork gets old. If you’d happily look at the Mona Lisa every day for the rest of your life, by all means go for that tattoo. But it’s a bit...well…boring. And naff.

And then there’s the vexed question of future employment. Employers in many white collar professions are naturally biased against people who are inked because it affects their brand. There may even be evidence that those who are inked may have a certain personality flaws.

People who have a visible tattoo are more likely to act in haste and to fail to think through the consequences of their actions, according to a study of more than 1,000 people. The 2019 study was done by Canada’s McMaster University which looked into why individuals would want to “affix a visible stigma,” given some employers' bias against body art.

Personally, I think such surveys can be nonsense given how doctored the research parameters are. But I do understand why many white collar professions woud make pre-suppositons about that person’s character. It may seem unfair but tough! That’s life. We don’t get a second chance to make a first impression. There are plenty of other professions and lines of work where someone inked is no barrier (like the army rank and file) so one is free to pursue those opportunities.

I just want to clarify about the obsession the millennial generation seem to have with tattoos as a means to express themselves. This needy pursuit of ‘identity’.

I recognise that tattoos, once “largely reserved for criminals, sailors, circus freaks, and exotic tribal societies” mantra, has undergone a rise in popularity and signifies a significant cultural trend in Western societies in recent years. But that’s not an argument to get inked. Rather it’s a judgement of how societies are declining into degeneracy and nihilism.

I do get it, especially why millenials are into it. For them tattoos may be important because, at their core, they signify a means of cementing the permanence of identity. It’s been argued that tattoos do more than merely showcase facets of an individual’s identity: rather, they anchor, cement, and stand for the entirety of that identity. Even when everything else about the world right down to the body changes, tattoos are constants. They assure a link to the past.

The need for that kind of anchor has been exacerbated by the overload of constant changes in the environment that millennials in particular are challenged with facing on the daily. Since millennials are more wired in that any other generation before them, their world is the one changing the most frequently. They say that millennials are constantly bombarded with the newest social media platform, the latest trends, and the newest films via phones, laptops, tablets, and various other screens day in and day out, moulding the demographic to adapt quickly to rapid change.

That said, all those changes can take a toll on the mind, and that it can be comforting for a millennial tattoo wearer to know that the design etched in their skin will remain with them forever.

But to me it shows how lost people really are.

It’s a comment how we have become untethered to the bonds of religious faith, family, and community. It shows a lack of sense of purpose through the destructive effects of atomistic individualism.

Getting inked to clarify who we are in terms of identity is just sad and ultimately self-centred. Because it’s the things outside of you and around you - institutions, faith, family, community, history, legacy, heritage etc - that ultimately define and shape you.

You have the choice of pursuing a ‘self-centred’ identity where it’s all about you or you can pursue a more humble ‘selfless’ identity that is about service and sacrifice. I would argue the latter gives you a more satisfying and durable purpose in life.

I don’t have tattoos and would never ever consider getting one. I do have discreetly pierced ears for one pair of ear rings only but that’s it.

Radical or just boring, I know.

I expect I shall end up saying the same thing about myself as my grandfather once said when he was dismissive of his extraordinary acts of bravery and courage during war, “I used to be young and stupid. Now I'm old and stupid." I don’t need tattoos to remind me of these things in my old age.

Tattoos may indeed reflect bygone identity struggles but they never stay relevant forever. The tattoo is typically an attempt to make permanent that which is fleeting. Typically, feelings. In some way tattoos are feelings permanently inked. But feelings are something you have; not something you are.

What we are is the sum total of memories recalled, experiences had, stories shared, and wisdom passed on. What I shall be will always be permanently rooted in faith, family, and service.

Thanks for your question

#question #personal #military #bio #tattoos #identity

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randomoranges · 5 years ago

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last night, or more like early this morning, i was having a conversation with @allbeendonebefore and then, as always, i had this dumb idea. so i stayed up til almost 4 am to type this up. also one of the ending lines was hers and i borrowed it shamelessly.

please enjoy some CANON fluff. so much fluff.

Curtain Call

203X?

Calvin drums his fingers against the polished wood and scans the crowd for any sign of him. He makes the ice cubes twirl in his glass with his other hand and settles for a sip of his drink. The whiskey burns down his throat, but it’s nice. He savours the tang of the alcohol and settles in his seat. He lets the noise of the small theatre and bar envelop him like a thick, warm, familiar blanket. He likes it here, has gotten used to this crowd and its vibe a while back now. Enjoys the performances and the ambiance. Likes the performers’ best – or well, one in particular. No bias.

His face breaks out into a wide grin when he spots him and he gets up, all long limbs and such, nearly knocks the man besides him off his own chair in his excitement, and offers a brief apology, as he waves his hand in the air energetically to get Edward’s attention.

Edward walks up to him, dress bag tucked carefully under one arm and smiles brightly when he reaches Calvin. He puts the bag down on the vacant chair on Calvin’s other side and then lets his boyfriend wrap him in a tight hug, who lifts him off his feet and spins him around for half a turn. Edward laughs, used to these antics by now and if his cheeks are a little pink when he’s back on solid ground, it has nothing to do with Calvin and everything to do with the vigorous wiping he did at his face moments before to remove the makeup; that, the lights, the adrenaline still coursing through his veins.

“You were absolutely magnificent!” Calvin declares and kisses him soundly on the lips. Edward laughs, again, a little breathless this time and lets his boyfriend shower him with praise for a moment longer. It’s nice, to have such a devoted fan, and to know that he has the support of his partner in this little venture of his. It hadn’t always been like this – hadn’t always been this easy and carefree, but that was before, what could have been a whole different lifetime ago.

Drag and performing had been another form of escapism for him. An idea born out of revolt, out of pride, out of affirmation and out of identity and himself. Something he had carefully created and worked on, something he had kept close to his heart, out of love, out of fear that had become his way of expressing himself in a totally new and different way. Here, he had found kinship, understanding, community, and acceptance.

Calvin had asked to come, a while back, years ago, and Edward had been surprised. He had never pushed it on him, had never asked him if he wanted to come, afraid of rejection, not wanting to live that again, not now that he had it so good with Calvin, and so even though Calvin had known about his hobby, Edward had never invited him to a show and Calvin had never insisted. With time, Calvin had thought maybe Edward was ashamed of him – didn’t want him to meet his friends, or enter this other sphere of his life and eventually, he’d asked. If he could. Because he wanted to. Because they were sharing a life. And if they were sharing a life then that meant hobbies and passions as well. Being there for one another and such. Support, emotional, physical and all. Having each other’s back.

Edward had agreed, if a little reluctantly, out of fear, again, always. But he was done with that. Done with hiding and being ashamed. That wasn’t how he functioned anymore. Done with living in shadows and the potential negative outcomes. He was done with self-sabotage. Had been done for a while, really, but, some small parts still remained, there at the back of his mind, whispering in his ear when he felt uncertain.

But Calvin was different. Calvin was encouraging.

Still, he had braced himself for judgement, but Calvin had been thoroughly on board with this other side of Edward. Had shown nothing but enthusiasm and support.

It had been – really refreshing.

Edward only regretted not going for this sooner.

“Thank you for coming,” Edward tells him as Calvin takes his seat again and pulls Edward close. Edward leans against him, Calvin’s arms looped around him loosely and this is probably Edward’s second favourite thing about performing – the after performance aspect. When he finds Calvin at the bar and gets to spend some time with him as he rides his little adrenaline high he gets from performing. (He still wonders about that – about the high – what it could mean, if it has anything to do with before but – it’s too much of a nice thing to really look into and Calvin always looks so good and nice and formal in his suit – as if he was going to see a real performance. (Calvin likes to politely remind him that it is a real performance. Edward’s insides always do something funny at that.) So he drops it, doesn’t think about it and allows himself to enjoy something without questioning what it may or may not mean. It’s better this way, anyway. Things are allowed to be uncomplicated. Not everything has secondary, dark meaning to it.)

“Of course! I wouldn’t miss it for the world; I love watching you perform,” There’s a coy and sly little smile to him that Edward chasses away with a kiss that Calvin is only too happy to respond to.

“Didn’t keep you waiting long, I hope?” Edward asks.

Calvin shakes his head, like he always does, “Nope, had a nice drink and I made a new friend,” He says it like it’s the most obvious of things and Edward rolls his eyes, so very fond. Of course, Calvin would befriend a stranger at the bar. He always does. Calvin is like an excited puppy that makes friends with anyone and everyone. Open and friendly and easy to talk to. Warm. Inviting. Pleasant.

“I’m sure the two of you would get along,” Calvin starts as he turns around to where the other man is sitting beside him, “His name’s Étienne,” And just as Calvin says the name, just as Edward follows with his eyes to where the man is sitting, just as he takes in the mop of now quite familiar curly hair, his mind stutters to a halt, wondering if it didn’t trip onto itself. If this isn’t some weird dream he’s having or some such.

But then, sure enough, the man turns and he’d recognise that face anywhere. (But would he though – would he really? Would he, considering he’d been standing right next to him all this time and hadn’t even noticed?)

Calvin looks far too pleased. He had concocted the whole thing. He’d asked once, and just once, why Edward never invited Étienne to a show. Edward had conveniently reminded him that Étienne lived four provinces away, that he wasn’t always around and that his performances didn’t always line up with his visits. Calvin had called bullshit on that, knowing far too well that Edward always made it a point not to have any when Étienne was in town. Edward had then asked him to drop the subject and Calvin, feeling that there was more to this tale but also not wanting to start an argument, had let it be.

For now.

He figured that if he himself had wanted to see Edward perform and wanted to be an encouraging boyfriend, then Étienne would want to do the same.

And so his plan had been hatched when Étienne had mentioned to him in passing that he’d be in town in a few weeks and would he mind keeping it a secret from Edward.

Calvin had been more than happy to oblige, but on one condition.

Étienne had almost seemed relieved at the condition.

Calvin smirks to himself; and to think that some consider him naïve.

Edward blinks.

And blinks again.

He stares to make sure he isn’t hallucinating and Étienne offers a shy smile and a gentle wave, “Surprise,” he says softly and Edward isn’t sure what the right response to that should be.

Étienne is here. At his show. Or at least, is in the venue where he’d just performed.

He takes a deep breath. Tries to ground himself.

There had been so many times. So many times, before, when he’d wished for this. When he’d ached for Étienne to assist. For Étienne to sit in the crowd, support him, be there for him, be proud of what he was and what he did. He had yearned for this. Had hoped that – someday, eventually, Étienne would be there. Would clap and whistle, would be over the top in his enthusiasm for his performance. Unashamed. Wouldn’t hold back. Would tell anyone and everyone that he’d been here to watch him perform. That they’d bridge the gap and meet halfway.

But – that had never happened.

It had been – complicated.

Étienne’s entire relationship with drag had been complicated. So, Edward had – let it be. Kept it to himself. Had fostered it close to his heart while resentment had slowly, but surely festered. Time had passed, words had been exchanged, and the proverbial drift had happened. Not only over this, no, that would have been too simple. Over – so many other things combined.

But – that too, was in the past.

They’d turned a new leaf. They were building something new now. Something wonderful and new and open and honest and so much better than what they’d had before. Authentic, Étienne would call it. (And Edward would roll his eyes, fond, and hit his arm.)

But Edward had never brought it up again. Étienne had asked, once, in passing, if he was still performing. Edward had replied in the affirmative and they’d left it at that, probably both a little afraid of digging up old skeletons, opening up old wounds, destroying something that was still so very fragile.

And it was fine, really.

Even though, Edward would have still liked for Étienne to be there. At least once. Just once. Just once to see him on stage.

And now here he is.

“I don’t understand,” Edward manages to say, “You just got here?” He asks, because that would make more sense. Because some part of him still apparently refuses to believe that Étienne would come to one of his drag performances. That they’re that much moved on from the end of the twentieth century to have this. “When did you get here? How are you here?”

There was no planned trip. He would have known. Étienne hadn’t said anything. But then again, Étienne is good at that. Good at surprise visits and showing up on his doorstep out of the blue. He likes that – likes that Étienne feels comfortable coming over when he feels like it, but still.

“Had a bit of help from an inside man,” He says exchanging a conspiratory wink with Calvin. There’s a private laugh, some inside joke is passed and Edward can’t even be bothered to grasp at it – not now, anyways. Not when his mind is still trying to grasp this reality. Later, there will be time for admonishments. Later, he can get properly vexed and chide them both for conspiring behind his back. For plotting these things. Just to please him. Because apparently, that’s what they do – please him. As if they’d been placed in his life for that – to make him happy. To see him laugh and smile. They’re both so stupidly ridiculous and he loves them both so damned much. So damned much.

“Got here early this evening, saw the whole performance. You were, absolutely, fantastic.” He says it with all the sincerity in the world and it does something to Edward. Really does. He feels the tears prickle at the corner of his eyes and doesn’t even try to stop them. In any event, his face has been scrubbed clean and he’s not sure there’s an elegant, discreet way from stopping this type of water works. Therefore, he walks up to Étienne, closes the rather small distance between them, a few steps really, and pulls him into the tightest of hugs possible. If he cries a little, he blames it on the adrenaline, on his emotions running high and on his mind that’s still trying to process everything.

Étienne holds him tightly as well, grasps him close and for a moment, time stands still. There’s something – cathartic about this embrace. Something old that finally starts to heal properly and that rights itself after so long. Edward feels a little lighter, stands a little taller when they pull back and smiles a little wider when Étienne takes his hand and gives it a squeeze.

“I got these for you,” Étienne says and takes a lovely bouquet of flowers off the bar counter. He hands them over to him and Edward can’t believe this man. Can’t believe that he gets to have his little fantasy come true in two folds.

“You didn’t have to, really, you really didn’t have to,” It’s a lot. It’s too much. But it’s perfect and wonderful. It’s overindulging, but he can’t stop. Étienne watched him perform. Didn’t hate it. Didn’t run away. Got him flowers. Is sitting at the bar with Calvin, dressed nicely as well, both looking lovely and dashing and so very fond of him.

He loves them. Both. So much. So much it hurts.

There’s a card with the flowers. His name is written on the envelope. Just his name. In familiar script he’s seen half a million times over his lifetime. It’s changed some, over time, but it’s still familiar and similar. It’s in the curve of the d, the way the o and the u are attached together, because Étienne has always called him Édouard, more so than anyone else in this world, a private name shared between the two of them, and Edward thrills that Étienne is using it again – that they’ve reached another old milestone.

He wonders what he’ll find in the card, wonders what Étienne could have possibly written to him on such a small card; Étienne who has been known to write him pages and pages of letters. Letters he still has. Letters he has kept. Letters he has read and reread, until he could recite them by heart. Missives sent his way with secrets and confessions (but never the ones he’d hoped to receive) and his breath catches, not for the first time tonight, at the two very simple, very powerful words he finds. He can get up on stage, perform, sing, dance, discuss, put on makeup, a dress, perform in stilettos and high-heeled boots without a problem, but the words on the card unbalance him and knock him over for a moment.

So simple. So efficient. So much.

Je m’excuse.

Edward looks over to Étienne again. Looks from the card, to Étienne and then back. He tries to find something to say – something to respond to that but he’s overwhelmed with feelings and emotions and the ghost of a past that wasn’t always bad, that had a lot of good in it as well, but that had gotten mangled and complicated for nothing. That had left him gaping and aching and hollowed out in a new way.

But they’re here now. They’re here and they’re back to where they were before, but this is a whole new chapter that’s being written and he doesn’t know what to do and what to expect. This is new. So new and fragile and wonderful and hopeful.

For the second time that night, Edward hugs Étienne close. Holds him closer still and never wants to let him go. Wants him to understand what all of this means for him. That he’s here. That he came. That he wrote those words in that card. That he loves him. He thinks maybe that Étienne gets it, that he feels the same when Étienne wipes at his eye an errand tear away and Edward laughs and cups his face with his hands and caresses his cheeks with the pads of his thumbs. They stay like that for a moment longer, simply breathing together, getting lost in a sea of hazel and green and Edward wonders if they’ve ever been this emotionally close to one another.

“Thank you,” He finally manages to say; for the flowers, the card, his visit here, for staying, for loving him still, for not having given up, really. For trying.

For trying.

“I’m proud of you, you know?”

Edward gets knocked off his feet for what feels like the third time that night. He nods, because he doesn’t trust his words, doesn’t trust that an ugly sob won’t come out of his throat instead. He takes Étienne’s hand instead and this time, it’s he who squeezes it tightly.

They need to stop being this ridiculous; Étienne and Calvin, for they’ll be the death of him. What with their well-meaning actions and words. There’s just so much he can handle in one evening. He sniffles once and tries to gather himself back up. There’s been enough sharing of emotions for one evening. His feelings have been pulled out enough for one night.

“Well, Christ, I wish I hadn’t washed my face, because I’ve been wanting to leave a lipstick stain on your pretty face for a million years and now you go on with your cards and your flowers,” He starts yammering on as he reaches for his bag, rummages through it to find his nice tube of lipstick – the one in that pretty shade of red he likes so much. He’s buying himself time, finding himself something to do with his hands and an excuse to look away from these two ridiculous men, “And you, mister,” He says as he brandishes the tube and points it like some sort of weapon at Calvin who looks far too pleased with himself, offers him an innocent smile he doesn’t buy at all, “Don’t think I’m not onto you. Can’t believe you both ganged up on me this way,” He adds and applies a perfect coat of bright red lipstick to his lips. He smacks them once for good measure, makes sure it’s even and then caps the tube and makes it disappear back into the bag, “C’m’ere,” He tells Étienne and pulls him close to place the biggest of kisses to his cheek.

Étienne laughs and loops his arms around Edward’s waist. He holds Edward close as he kisses his cheek and it’s a liberating thing, to hold him like this, to be here with him. Edward surveys his handiwork afterwards and makes an approving noise at the back of his throat. “I hope I’ll get more in the future,” Étienne says and Edward smacks him lightly, before kissing him properly, if only to get him to stop saying such silly things that make the butterflies in his stomach flutter ever so wildly.

Before Edward can escape, say something about the fact that they should head out, that it’s getting late and that he’d like to crash on a sofa and not move for the next several hours, Calvin pulls out his phone and says they should commemorate such an occasion. Edward rolls his eyes, but makes himself comfortable on Étienne’s lap and just as he braces himself for the flash of the camera, Étienne places his head on his shoulder and when Edward looks at him, he finds that his boyfriend has the softest of fond looks on his face.

They take another photo, one last one before they head out, of the three of them, and Edward thinks that it’s a good thing Calvin has such long arms. Edward squeezes himself between both Étienne and Calvin and holds them both close as the shutter goes off. It’s a lovely photo, really, and they all look happy in it. Edward will, later, after he has Calvin send it to him, put it as his phone wallpaper and it’ll stay there for a good long time. He’ll look at it often, sometimes unlocking his phone just to see it, and every time, for a fraction of a second, he’ll feel whole.

FIN

#pc: montreal #pc: edmonton #pc: calgary #pc: gary #edward murphy #étienne maisonneuve #calvin BRISEBOIS LOL #calvin something #fic #projocanondoko #pc: ot3

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woman-loving · 6 years ago

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some thoughts on femininity

I start off with a long quote, so the whole thing is going under a cut.

There is a scene in the film The Hunger Games: Mockingjay Part 1, where the heroine’s mentor Effie Trinket is learning to adapt to her new life in the revolutionary compound of District 13. Previously an inhabitant of the wealthy Capitol area, Trinket has been forced to leave behind her old excessive style in favour of a grey jumpsuit, a uniform worn throughout the District. Cleaned of makeup and without her frilly dresses, Trinket retains only a set of bangles which she still wears and often touches wistfully. Her fellow District 13 comrades find Trinket’s attachment to these objects absurd, and she is met with derision. This response from her revolutionary companions calls to mind Germaine Greer’s assertion that “the women who dare not go outside without their fake eyelashes are in serious psychic trouble” (1970, 325). That Trinket’s affection for feminine accoutrements makes her the focus of ridicule illustrates an important conundrum. It begs the question: should we laugh and pity the Trinkets of the world “who dare not go outside” without their feminine accessories? Are Trinket’s bracelets symbolic manacles? Or should we sit awhile, and wonder why these attachments might remain in the face of strong suggestions from others that liberation can be found in throwing such objects away? This leads to the central question: how can we consider femininity in a way that best attends to people’s experiences of, and attachment to, feminine styles?

Looking to both popular and scholarly feminist commentary over history we see that feminine styles of the body are often not merely understood as the effect of an oppressive gender system, but rather are seen to perpetuate and maintain this system. So the dominant theory goes: if a woman fails to reject those bodily expectations of the gender regime, she is part of the problem. I do not wish to deny that there are norms and expectations that shape the way that we are expected to appear and present ourselves in the world. Indeed, at times this regime is a punishing one. Women are expected to put an enormous amount of energy and money into their appearance, in order to be understood as “respectable”, “beautiful”, and “sexy”. The effort required to produce feminine aesthetics is increasingly being discussed in terms of labour (Baker 2016, 52). Furthermore,successfully achieving various looks for different contexts is no easy task. To wholeheartedly celebrate the various aspects of appearance which often constitute what is recognised as “feminine” – including makeup, clothing, hairstyling, and so on – would be to deny the daily experiences of women who are compelled to conform to particular styles in both the private and the public sphere.

For these reasons, I do not wish to celebrate femininity as something that should be seen as necessarily empowering nor inherently “good”. However, I do seek to intervene in the idea that political transformation can or should be affected at the level of appearance and identity. That is to say, I argue that femininity is not necessarily disempowering, nor inherently “bad”. Those aspects of feminine styling that may for some people feel cruel or laboursome may at other times or for other people be a source of pleasure or, indeed, may be central to their sense of identity and belonging. [...]

That gender expectations are contextual and change over history and location also reveals that it is not the specific elements of what we designate as “feminine” in appearance that are innately problematic, but rather what is arduous is being compelled to conform to expectations. While women of one era might define long dresses as oppressive, another might see miniskirts in the same way depending on the specifics of the disciplinary regime at the time. Another clear example of this is currently the colour pink, which is discussed in some detail in chapter two : pink is not inherently bad, but functions today as a symbol of girlhood. While many reject pink for the gender normativity it represents, at times the debate gets mired in making pink the problem rather than seeing the real issue as the system that merely encourages the use of pink as a signifier. [...]

--Hannah McCann, Queering Femininity: Sexuality, Feminism, and the Politics of Presentation, 2018

This is an excerpt from the introduction of a book that I was looking through, just because I was hoping it would annoy me into writing something. I have a bit of a bias against using "femininity" as a category of analysis; I fear that people are going to use this concept imprecisely, leaving it vague and relying on unspoken, preexisting connections between femininity, womanhood, and female to suggest its meaning. However, I haven't actually read much theorization on femininity or femme-ness, so I don't know for sure what this book is going to argue; I read another theoretical article on femme just before this and it seemed to be going in some interesting directions (building off other queer and feminist theorizing). But still I want to share some of the thoughts and concerns I have going into this topic, acknowledging that other people may very well be saying the same sort of thing, and that this isn't original to me.

First of all, I want to give my own, very rough working explanation of "femininity" (or at least one angle of it), which would go something like this: femininity names the quality of womanliness, or the range of physical characteristics, styles, mannerisms, interests, work, etc that are imagined to be the natural expression of womanhood. In other words, "femininity" and womanhood are tied together through an essentialist logic, one which also locates womanhood and its expression (femininity) in "the female body." (I will use "the female body" here to indicate another construction.) The reference point for all this that I'm thinking about here is specifically Western European constructions of womanhood, femininity, and the female body, and how these are constructed through race, class, ability, sexuality, and other factors.

While we've come to speak about femininity as something independent from being woman or "female"--as that which has simply been "traditionally associated" with women--I think this is the logic behind that "association." To be feminine is to be "womanly." One concern I have with using "femininity" as a analytic category is that... so long as the reference point for understanding the meaning of "feminine" is an essentialist logic of womanhood, we risk carrying over this logic uncritically, and reproducing it even where we claim to have severed it off. How can we talk about both "womanliness" as an independent expression that can be found in people of any gender and also "women" as a group that can have a full range of possible expressions?

Going back to my explanation of femininity and the broader gender logic of which its a part, another point that needs to be made is that... while ideal (meaning: white, middle-class, able-bodied, cis) women and womanliness are seen as fundamentally distinct from men and manliness, these categories are not as separate in this scheme as would appear. These values of male-man-manly and female-woman-womanly interpenetrate one another and can be quite mobile. Womanly characteristics can be found in a man; male traits identified on the female body. This mobility actually helps preserve the underlying essentialist logic. For example, we might understand a brave woman as expressing a manly characteristic, rather than questioning the notion that bravery is fundamentally male (and therefore an aberration in women) or that the real, essential man is brave. (This is touched on a little bit here, too.)

Moving on.

So, we have this introduction that starts out with considering the reception of Effie in The Hunger Games, and what Effie misses when she's in District 13, and what she's sneered at for being attached to, is identified as "femininity."

It's been a lot time since I read or watched The Hunger Games, but surely it would be accurate to say that what Effie is missing is a particular style, particular accouterments, a fashion; these are what the author here identifies as "femininity." And that's not wrong, exactly, but there are other ways of naming this. Lemme turn to a quote I saved from another book I read:

In spite of their differences in education, wealth, and social standing, most of the [Victorian] bourgeoisie resembled one another in dress, habits of speech, and deportment. Bourgeois men dressed somberly, in dark colors, avoiding any outward signs of luxury. Their clothing fit closely and lacked decoration—a symbolic adjustment to the machine age, in which elaborate dress hampered activity. It also reflected a conscious attempt to emphasize achievement-oriented attitudes, and new standards for what constituted honorable manhood. Through dress and other fashionable tastes, middle classes distinguished themselves from what they viewed as a decadent and effeminate nobility.

Bourgeois conventions regarding women’s dress were the opposite of men’s, further reinforcing gender distinctions—women’s clothing became the material symbol of male success. Extravagant amounts of colorful fabrics used to fashion huge, beribboned hoop dresses reflected the newfound wealth of the middle classes and confirmed their view of women as ornaments whose lives were to be limited to the home and made easier by servants.

--Western Civilization: Beyond Boundaries, Thomas F. X. Noble, et al., 6th ed., 2010

Ok, now this is where all my thoughts start to get scrambled together. Let's see in what order all my points will wind up.

So what appears to be happening here is the emergence of two fashion genres (to use a term from the previous femme article I read) within the white Victorian bourgeoisie. (Is that the same thing as middle class?) And these are shaped to express one of two sets of contradictory values held by the bourgeoisie. And while it's reasonable to assume that bourgeois women would also hold and reproduce these values, I expect that these social trends were largely shaped by white bourgeois men, and that both sets of values reflected their own interests. In other words, it's not that bourgeois men held one set of values and bourgeois women the other, and each were allowed to develop fashions as suited their own (singular) preferences. Rather, bourgeois men valued both somberness and display of wealth through luxury, and wished to express both, and resolved this contradiction by externalizing one of these value sets onto women. They were able to have their cake and eat it too: they could express esteemed middle-class values as a part of their manhood, while also getting the benefits of the values they decried: extravagance, excess, luxury, ornamentation--all foisted onto women, whose fashions were imagined as deriving from an essential womanly disposition that naturally gravitated to such qualities. I.e. women's femininity.

AND LEAST THAT'S HOW I'M READING THIS. I haven't looked into the development of these fashions beyond the quote from the book. So, if that's correct.

The use of The Hunger Games to illustrate the reception to women's attachment to "feminine" styles is odd, because the fashions of the Capitol must also be sharped by class values. Popular fashion in the Capitol appears to be characterized by exaggeration, excess, and flamboyance, a display of luxury which resonates with what the Capitol represents in the series.

HOWEVER. The Capitol does not seem to have markedly distinct genres of fashion for men and women. Let me qualify that. Just looking at these pictures, the few men who appear are less... excessive, but still notably flamboyant. (Two more examples.) It's been quite a while since I read the books or watched the movies, so I don't remember exactly how gender appeared to be constructed in the Capitol. But I'd posit that the difference in degree of excess between men and women here results from the fact that these fashions are built on the base of real-world fashions, where those for men and women have had different trajectories. Perhaps we could say, though, that the same basic concept lies behind all fashion in the Capitol, and imagine that the spirit behind Suzanne Collins' vision of the Capitol might be more "ideally" represented by a world where the forms of Capitol fashion were not gender-specific.

In that case, extravagant fashion is not specifically womanly. It might make more sense to speak of Effie not as missing the accouterments of "femininity," but more specifically the accouterments of a fashion characterized by exaggeration, excessive ornamentation, or however we might describe it. These fashions might be intimately tied to her identity and sense of embodiment, without primarily being understood as an expression of a uniquely womanly quality. Where, then, does the concept of "femininity" fit into it?

Moving on from The Hunger Games, the suggestion I'd like to make is that, rather than using a vague notion of "femininity," we attempt to be more precise in naming the contents of "femininity." By utilizing categories like "extravagance" or "flamboyance" (or perhaps other, better terms), we can uproot the characteristics that make up "femininity" from their presumed location in womanly nature. We can connect them as well to “manly” expressions of these same qualities, and perhaps note a range of similarities and differences in how they are socially received depending on the gender, race, class, etc of the subject in which they appear. This is not to say that we should ignore how certain things are gendered, or how people do in fact adopt certain styles as a way to express or embody their gender. This can/should still be part of the analysis. But expanding the repertoire of categories used to name what we mean by "femininity" might help us avoid over-determining the significance of gender, which can be a pitfall when the subjects under consideration are viewed as markedly gendered. (I complained about an example of this.)

(I suppose I'm basically describing a method of analysis that evacuates the category of femininity. I remember once, in a discussion of Buddhism, the concept of non-self (anatta) was illustrated by saying "a flower is made up entirely of non-flower parts." In this case, "femininity" or womanliness is made up entirely non-woman(ly) parts. So what are those parts?)

I also want to comment on something McCann said in the last paragraph of that first quote. She said that the elements designated as "feminine" are not innately problematic, but become so when they are compelled to be adopted. I’d agree that it’s a problem when these elements are compulsory (especially if they tend to require greater time, labor, expense, and self-monitoring to embody). However, the contents of "femininity" may in fact be problematic within the social context in which they are developed. Returning to that second quote, the ornateness of bourgeois women's fashion was problematic in its own right because it contradicted another, more centrally affirmed set of bourgeois values.

Now, I'm not sure what is the best way to name the characteristics that are identified as "feminine," but one common complaint against certain "feminine" clothing or processes is that they are impractical and unnecessary. And when women specifically are compelled to adopt styles that are impractical for a wider range of situations, it makes sense to complain about that. However, what may be needed to defuse tensions around "femininity" is not just a rethinking of the meaning or value of womanhood (e.g. what women "should" look like), but also a rethinking of the value of “impracticality.” A rethinking of forms of expression (and the labor they entail) that serve no purpose other than meeting an aesthetic or bodily goal, one which may be attained at the expense of practicality, efficiency, or frugality.

At the same time, even here we can't look at this question outside the interlocking context of sexism, misogyny, racism, classism, et al, since these determine which forms of expression that might in fact be impractical (toward a certain goal) actually get identified as impractical or unnecessary. It just goes to show how multiple approaches are needed, since these phenomena are complex.

Fin.

#femininity

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buddha-in-disguise · 5 years ago

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You are not a fan!

I've decided to post as more and more hate is popping in recent weeks. This hate has emerged from a certain area of fandom towards others. This post is directly to all Sanvers fans.

For those who are doing this (& please before anyone says we can’t be sure it is Sanvers fans, I know in this instance this is repeated pattern that is identical to past behaviour, it might not be every instance but I know quite a lot is. The patterns cannot be dismissed).

So I am directing this to those who know who is behind this (because some of you will know).

I’m also directing it to other Sanvers fans - not because you might have done anything wrong, but to a) be aware this is supposedly happening in your name & b) to please ensure if you see or know of anyone who might be involved, call them out if you don’t already, c) I see hashtags supporting the fandom all over the place for all kinds of events. Use that hashtag to call these people out with the same passion, so others see it, because right now we don’t. Hashtag into other fandoms as well if you can.

Alternatively do what many others do regardless of which ship they support, go into the timelines (of cast & fans) to show you are appalled by this behaviour. I know not all fans of every ship do this, but I see it far more often with other ships than I have ever done with Sanvers fans. That cross fandom support goes a hell of a long way. Don’t drag in old previous arguments you might’ve witnessed or been involved in, because that helps no-one. Yes it’s happened in the past, but this is about the here and now. Step up regardless to show you are there. But even if you can’t do that with fans, rather than continually going into cast or crew or the network timelines and repeating that you want Sanvers back, show support against bullying or support to the actress. Believe it or not, you can still show support towards an actress against hate, and give your message about wanting your own ship still in the same tweet!

If you say it’s too hard mentally to face doing that - ask someone you know who can. You cannot tell me in all those out of your fandom who might not be able to face it, there aren’t those who are in a position to do it for you. Be proactive.

For those Sanvers fans who are behind this; you had a character and ship that I fully understand was something you not only got attached to, but validated who you are as a person. Whose journey might’ve represented your own. Who might’ve given you strength to come out, or be more open to those around you.

Emotional attachment in itself is okay and no-one should invalidate that or tell you to move on, even if the ship or characters have changed and the show has moved on.

What isn’t okay is when the attachment causes such anger, such bitterness, you use it against other fans, cast members or anyone else for that matter.

To all fans, regardless of Fandom: No-one else deserves to bear the brunt of how you react or feel, no-one. That is your responsibility. Own it. If you can’t own it, then you need serious medical help or therapy, because this is not normal. Also don’t use your mental health as an excuse. All too often it is used as why you feel like you do, but then take no remedial steps to at least try to help yourself.

I’ve been there with mental health. I’m 53 - my first full blown panic attack was when I had just turned 12. I still remember it so clearly, and it wasn’t until I was 26 before someone said to me what it was. It took another full decade to get it under some semblance of control. That didn’t mean I wasn’t seeking professional help and medication - I was - but far less was recognised about it then. I say this because even though I’ve pretty much conquered it via a number of different ways - ultimately I am the one who has to take that first healing step forward. I recognise it is a hellish place to be at times. I have full empathy for all who suffer. But don’t use it as an excuse. It actually doesn’t help the mental health stigmas.

You also cannot continue to have others demand they support canon lesbian representation, when by the same token you’re tearing down other canon lesbian representation. Stay. In. Your. Lane. I’ve repeated this so much, and yes that goes both ways - if any fans from other fandoms feel a need to go in on Sanvers fans - don’t! I also keep saying representation comes in far greater areas than you might see or recognise. Don’t demean what someone else sees, even if you can’t. You might feel it’s shit representation, others might see it as being great representation. We all view things from different perspectives. Don’t place your bias on others.

Now, this issue on sending this all via anon. It really isn’t as anon as you might think it is. Legally there could be serious implications for your actions. In real life and online, your actions have possible consequences beyond a tweet being deleted or sent behind a troll alt account, or anonymously. Being anonymous isn’t actually as anonymous as you might think. This also goes beyond just death threats (or wishing physical harm on someone), if you continue to attack or misrepresent someone online. One prime example is insisting some of us have multiple alt accounts and use them to troll the fandom. I saw this happening recently, when a user who had *nothing* to do with a fan account was accused of running it. When they (& the person on the account) said otherwise, it made no difference. That could in some instances be seen as defamation. It might also be seen as libel (as it’s written, whereas slander is verbal). Would it ever come to that? I don’t know, but it can’t be discounted as a possibility.

If you’re that convinced they have all these accounts, or all this influence, when others are saying otherwise & you refuse to believe them, that is now paranoia. Again, that is not normal or rational behaviour.

In the meantime, here is a screenshot of the latest death threat. It is heavily edited as the person who recieved it wanted to delete off her timeline. I will add this isn’t the first threat of it's kind against fans. I’ve faced it, so have friends of ours. We’ve faced threats of physical violence as well. Some from known accounts before it all started to slide towards anonymous ones. So yes, as I’ve said, this is a pattern of behaviour.

I will say lastly - I know not all Sanvers fans are like this. I know there are those who are as appalled and upset. Please use your voice to stand up to this in all areas, not just in the enclosed space of your fandom.

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randomnameless · 6 years ago

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F!Lewyn - was he aware of Julia’s identity or not?

Alright friends, I’m seriously considering cheering for Soren in the gauntlet if we get a Lewyn vs Soren final, and this is a clear sign that the bias is too strong against F!Lewyn.

Lewyn the bard died to Manfroy during the BBQ - or around that time.

This I got.

Fee might not be conceived from Lewyn’s living body is also something i can understand in the timeline (despite how weird it is)

F!Lewyn trains (?) lil’Arthur in wind magic. Why? Is it to help him to fight against bears or because he wants to make him one of Seliph’s soldiers? Is F!Lewyn, since day 1 after his birth, wants to make Seliph the leader of the rebellion?

F!Lewyn finds kid!Julia, around 6 years before the start of the Isaachian rebellion.

For some reason, he keeps her with him, but doesn’t bother to return to Erin and the kids.

Why?

He knows who Julia is

Pros : it explains why he didn’t return to Erin and the kids, and actually watched over her as in no Loptyr goon managed to kill her because she’s Jugdral’s last hope - they hid in seclusion for 7 years

Cons : the game and how it happens - from his treatment of Julia to the bullshit he tells Seliph about how he “recently” discovered that they were trying to resurrect Loptyr. His decision to let her without any weapons in a war torn country, where the Empire is fighting is stupid - she could have been killed by random Dozelian and then bye-bye Jugdral - and not keeping an active watch over her to prevent Manfroy from kidnapping her is as idiotic as it sounds

also cons : not telling Seliph the truth from the start, was he thinking he wouldn’t support his sister in saving the world? Or, idk, not telling Julia herself from the start...

He doesn’t know who Julia is

Pros : he isn’t a lying douchebag unlike the other scenario, it explains why he didn’t kept a special watch over her when she was in the army

Cons : Dorias looks like a mastermind next to him

why did he kept that child he found and didn’t leave her in an orphanage? She’s a burden on his hands and he has many things to do

he couldn’t make 1+1 about this child called Julia, Julia the missing Imperial Princess, how she was hurt and most likely not dressed in peasant clothes

also, if we really want to add something about draconic auras or some kind of crap : Azmur vibrates when he sees Deedee before she removes her circlet and confirms her identity, but a dragon himself can’t see Naga’s avatar in front of him? What about Finn’s auras?

The guy managed to make sure Seliph would rescue Leif and overlooked two liberations wars at the same time via August, but didn’t hear about Princess Julia being missing or how the kid he rescued was in fact princess Julia? He could have learnt it during the game, and way before the final chapter!

Granted this point falls into the general plot : no one, not even Tine who was raised in the court, not Ishtar, the jo-bros and Altena recognised Julia and no one in the world EVER talked about Julius’ and Seliph’s missing sister, or Deirdre’s three children

the only person who mentions Julia bar her daddy is Coen, a random NPC who could have been her stepgrand-papa in another universe

Hell not even Reinhardt/Olwen mention Julia despite being close to Julius

gdi would it have killed Kaga or ate too much space on the cartridge to make a random NPC in a village say “i had hope in Lord Arvis, but since his wife died and his daughter went missing, he became a tyrant”

F!Lewyn not knowing who Julia was is more logical in Jugdral’s illogical world but then, why keeping her around and not dropping her in an orphanage, or with Erin and the kids??

I mean, this inconsistency comes from the Julia plothole - how could Kaga think that a missing Imperial Princess wouldn’t raise eyebrows? Deedee’s sudden royalty sounds plausible, but Julia the hidden Imperial Princess no one knows of, not even the Imperial soldiers/generals notice, especially since she disappeared while she was a child and not a newborn/whatever Micaiah was?

Unless it’s later explained that Arvis hid her existence “for some reason” to the world at large?

#jugdral #FE4 #FE5 #mentions of FE5 here #F!Lewyn #even he can't bend the lines of the script #maybe in the remake we will learn that julius sent loptyr goons after julia #a girl around his age with silver/white/purple hair?#after all he knows she's alive

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wizard-worm · 6 years ago

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Yo, for my English Lit A Level coursework, I wrote about Radio Silence & the canon. This is the essay, if anyone’s interested:

Radio Silence and other young adult novels ought to be included in the canon.

Young adult novels are often seen as less worthy of study than books for adults, even though many demonstrate the qualities seen in canonised literature. Radio Silence is an example of a novel which accurately represents the parts of society it is trying to reflect, contains valuable moral lessons, and is emotionally, thematically and narratively complex, all of which contribute to making a text valuable according to aesthetic theories, and yet the novel is overlooked perhaps merely because of its audience.

Young adult is a broad genre because it is simply an indication of the age of most readers, and within it exists the genres seen in adult literature: fantasy, thriller, science fiction etc. which makes the exclusion of young adult books nonsensical. It could even be more interesting to study because it is largely unexplored, so study wouldn’t involve repetition of interpretations that have been proposed before, as with books that have already been discussed for years. Perhaps because young adult books are intended for young people, those who have the authority to decide what is study-worthy assume that they must be simplified, when in fact there are a mix of more and less intellectual novels, just like in adult literature. The existence of “easy” novels in adult fiction doesn’t make people discount the others. Another assumption people seem to make is that young adult novels are thematically shallow, when in fact teenagers deal with many of the same existential questions adults do. Framing these themes from the perspective of teenagers shouldn’t make them any less significant.

While Radio Silence arguably shows a narrow perspective of the world since it is focused on a small part of the education system, so do many canonised texts, which are often more exclusive since they fail to represent groups which Radio Silence does, such as ethnic minorities and LGBT+ people. Austen’s novels are an example of this, with her focus on upper-class families, however even with her sharp focus on few characters, readers can still recognise and relate to the character archetypes.

Some canonised novels could be considered part of the young adult category, such as The Catcher in the Rye, but since they were written before the genre was widely recognised they were received in much the same way as adult books, meaning there was no bias against them. The fact books like this are seen as “academic” shows that adults are sometimes willing to see teenage perspectives as worthy of study, so perhaps the main barrier for modern young adult literature is the false belief that there aren’t intellectual books in the genre just because they have been put under a new publishing umbrella. In the future, critics may begin to take YA fiction into consideration for the canon, as has happened with other genres previously seen as unliterary. Crime fiction is an example of a genre which at first was thought of as commercial and purely “readerly”, but in recent years has been studied in English Literature courses, demonstrating the subjectivity of literary value.

Oseman was 21 when Radio Silence was published, which some might use as reason to exclude her novel from the canon. This mirrors the way female writers were excluded, resulting in authors such as the Bronte sisters using male pseudonyms. In the field of sociology, some theorise that modern society is an “age patriarchy,” meaning children are oppressed by adults to maintain the adult/child hierarchy. Both women and children have been seen as unintellectual, and this has been the basis for inequality. The fact that women have managed to challenge patriarchy to be included in the canon suggests that the same could happen for young people if the hierarchy is questioned.

Radio Silence deals with themes of mental health, sexuality, platonic and romantic love, family, and trying to find happiness. These themes are seen throughout literature, but when examined from a teenage perspective are often dismissed as self-indulgent. The themes are interwoven with discussion of the education system, which is the main subject. Frances, the protagonist, is successful academically but starting to realise she feels no enthusiasm towards school. Her friendship with Aled Last demonstrates the conflict between “school life” and “real life”. While they are just acquaintances, Frances expresses fear over “messing it up,” to which her mum responds “You’ve got lots of other friends,” and Frances says “They only like School Frances though. Not Real Frances.” The capitalisation emphasises the divide Frances feels between her “study machine” identity and her creative side. Her mum’s reply mirrors the way that adults oversimplify teenagers' problems, as also seen in the beginning. The headteacher is giving a speech on parents’ evening, and Aled has been chosen to give a talk about university. The teacher tells the audience Aled is going to Durham, “if his A levels go to plan, anyway!” Frances narrates that “All the parents laughed… Aled and I did not.” The short sentences create a curt tone which communicates Frances’ annoyance at the trivialisation of something which their futures rest on.

The effects of this invalidation are shown in how they see their own problems. Frances makes it clear that she doesn’t get any enjoyment from school, yet all of the decisions she makes centre around getting into university. She says “whenever I wasn’t doing school work I felt like I was wasting my time” reflecting the amount of pressure that is put on students. This tends to have a negative impact on their mental health, seen in the case of Aled isolating himself at university. Adults not taking teenagers seriously worsens this problem because they don’t feel able to seek help, since whenever they voice their feelings, they are brushed off.

When Frances is panicking about one of her exams she feels embarrassed texting Aled: “This sounds really dumb I know I really shouldn’t be so upset about it haha.” Through this Oseman subverts the stereotype of teenagers as uncaring as Aled sympathises with Frances rather than dismissing her and this support means, towards the end, when Frances is beginning to question the expectations she’s always put on herself, she stands up for her own feelings when she doesn’t get into Cambridge. She narrates “You probably think I’m a whiny teenager. And yeah, it was all in my head, probably. That doesn’t mean it wasn’t real.”

This is also an example of one of the ways in which Radio Silence is narratively interesting. The entire book is told in first person, but the “fourth wall” is often broken with Frances addressing the reader. This creates the effect of a story being told to you by a friend, which encourages empathy. It also exposes her as a somewhat unreliable narrator when it comes to the subplot of Carys’ disappearance. Frances speaks with conviction about why Carys disappeared, making statements like “It was my fault she ran away,” but later on it’s revealed that Frances’ perception of Carys has been distorted. This adds realism by reflecting the way people tend to think, believing ourselves to be more significant than we are. When Carys is introduced, it becomes clear Frances was fairly insignificant in Carys’ life, though the reader is previously convinced by Frances’ perspective.

The narrative also switches from past to present tense during the moments of direct address to the reader as well as during a pivotal chapter in which the characters are drunk. There are analepses to something that happened two years ago with Carys, but told in present tense. Oseman uses repetition such as “Aled was saying, Aled is saying,” to communicate Frances’ confused perception of time which realistically reproduces the experience of intoxication as well as highlighting Frances’ unreliability as even she is aware of the contradictions of her perception.

The subtlety of the portrayal of a toxic parent is also perhaps more well-crafted than many adult-oriented books, which often jump straight to the most extreme cases of abuse. These are important, but aren’t as engagingly ambiguous as Carol Last, who walks a fine line between strict parenting and psychological torment. The complexity of the situation creates a moral debate and would provide an engaging topic of discussion, since she is a more subversive villain than typical flat “evil” characters because it’s not clear what her true intentions are, as well as being a character one might encounter in real life.

Her actions are almost justifiable; she has Aled’s dog put down while he was away but she could rationalise it because of the dog’s old age. Frances aptly describes the disconcerting coldness Carol possesses without really doing anything wrong: “She looked terrifying… a smile that said “Can I get you a cup of tea?” and eyes that said “I will burn everything you love.”” Aled struggles to talk about her, and after a lengthy conversation Aled finally manages to simply say “I just really don’t like my mum.” and Frances realises he was struggling because “It sounds like such a juvenile thing.” This anti-climax creates mimesis since this conclusion lacks emotional closure.

The inclusion of modern technology also adds interest. Realistically, a significant amount of these character’s communication is done through text. Some might argue that focusing on technology, which develops so quickly, can date a text, but it is an important part of modern culture that can’t be ignored. Including text messages is useful because the author doesn’t have to obey grammatical rules, making it more expressive: “HOPE YOU’RE FEELING PARTY AF” and “it’s honestly fine!!!!” In the past when technological developments have been made, they were incorporated into literature, such as with the emergence of epistolary novels after the postal system was set up.

Oseman also uses a story within a story that incorporates technology. Universe City is a fantasy podcast which tells the story of Radio Silence, a character trapped in a dystopian monster-infested university. Occasionally between chapters there are transcripts of an episode, and through this, Oseman explores how the internet allows new kinds of creativity while providing insight into Aled’s character as the podcast creator. It is revealed that Universe City has been Aled’s way of reaching out to his sister after she disappeared. The transcripts are littered with metaphors and analogies for Aled’s mental health and life events, such as the motif of fire: “I see you in every fire that lights,” “The fire that touched you must have come from a star,” which refers to his mum burning Carys’ clothes just before she disappeared. It’s a clever way of including a more literary style without interfering with the realistic first-person voice. The issue of prioritising literary technique over realism is shown in young adult novel The Fault In Our Stars where the teenage characters say things like “My thoughts are stars I cannot fathom into constellations,” which some might see as more “literary” but which also seem pretentious and false.

Ultimately, Radio Silence incorporates many aspects of canonised literature that critics believe to be valuable: universal themes, complex characters, interweaving plots, interesting narrative techniques, and it is innovative through incorporating technology. Negative stereotyping of teenagers leads to dismissal of young adult literature, but as the internet allows young people to become more vocal, perhaps young adult literature will become more accepted.

@chronicintrovert (u dont have to read this if u dont want to but idk i’d be interested if someone wrote about my book so tagging u just in case)

#alice oseman #radio silence #obviously don't plagiarise because you could get in trouble #i was with AQA and got like an A/B for this essay #not exactly sure #but I got an A overall for the whole A Level :)#english lit #english lit essay #a levels #i had so much more to say but the word limit was 1500 and I wrote 3k and had to cut so much

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locatingself · 3 years ago

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Thinking about my emerging research practice critically

I am coming at my research from the standpoint that truth is objective, not the subjective truth perspective that is increasingly prevalent in modern western thought. I believe that there is one truth - this being the existence of one God, one gospel, one salvation - and so I come at my research and practice wanting to push this viewpoint. I deliberately want people to come to the same belief that I do, because I believe that eternal salvation comes through this belief only - to not push this standpoint when I truly believe it to be true would be unloving.

However, it is a human right to express our own opinions, and every persons opinion should be respected, every person should be able to come to their own conclusions - in fact, if they do not, then this is false belief and a waste. Christianity isn’t at all about convincing, tricking, or selling this belief. It’s about every person coming personally to knowing Christ.

So I need to learn how to respectfully present my opinions as I believe them to be truth, while respecting the freedom of opinion of others.

I believe that objectivity in my own work is going to be impossible to achieve, because ultimately I do have an agenda - that I want people to be able to come to know Christ. In order to ethically present my research I need to be honest about this bias.

I will need to outline my position - as a Christian with these beliefs and this intention before going into my research or addressing issues my way. This absolute honesty is what I should practice anyway - why should I be sneaky about where I’m coming from? That’s not helpful to anyone!

Part of this necessity for self awareness is also the necessity for me to be aware of my bias unconsciously affects my research, or my position unconsciously affects my work. I have a western, privileged background which makes a lot of my faith a lot less difficult to align with the rest of my life than others - there aren’t questions I have to ask or struggle with first in order to come to faith. I still should wrestle and ask these questions, for it’s extremely important that I face up to my faith fully, not blindly. but having been raised in a christian family means a lot of these beliefs are sort of in-built, and so I come to these questions from an already believing standpoint. Another part of self awareness is the underlying emotions, reactions, aversions to things which are unfair and I need to recognise and ask why in order to research and design with fairness

A lot of people’s response to Christianity is to see it as oppressive - oppressive to non-white backgrounds, to different sexualities, to ways of life which are contrary to what the Bible teaches. It’s INCREDIBLY important that I recognise where Biblical truth and response lies in these contexts, and that in order to really create transformative design work I need to not gloss over these sticky questions, but walk with open eyes, willing research, and a loving heart into them. The Bible is ALWAYS going to be my ultimate truth, I believe that the Bible is the complete word of Holy God who created us, loves us, and knows what is best for us. But very often the Bible has been used as a weapon for people to oppress others. (contexts such as colonisation) This is NOT the intention of the word of God. God’s word is his standards out of love for us.

In terms of unlearning my oppressive behaviours, I need to learn how to hold to the truth that I believe, but remain loving and not oppress others with my beliefs. My ‘role’ as a Christian is not at all to change people or tell them how to live their lives. It’s just to tell them the gospel message and show the love of God to them. I constantly need God to reveal my heart to me, reveal my judgemental behaviours to me, teach me to love like He loves.

My design work, and particular this research area of interest that I’m developing is very strongly shaped by my values. This is going to influence my decision making and my critique of things. A couple of things to note about this: depending on contexts (and I have no idea where I am going with my design practice and who I’ll actually be working for) I mostly won’t be designing for people with exactly the same set of values as me - unless they are christian. There is, however, a lot of overlap - common human morality that I think exists in every person. The other thing about this set of Biblical value is that these ideals are impossible to achieve without God - which is why we believe that we need God’s grace (unmerited love) and forgiveness. So I will need to design with, and research with, grace.

In terms of my western position, I need to not ever put my western background on the same level as my faith. Christianity is not a western construct! In actual fact, it is Eastern - Hebrew! I need to recognise my western bias

Probably a good example of this is thinking about Natalie’s lecture, and the recent mātauranga /western science debate - how mātauranga is definitely science, but we must not instantly be critical of something as being non-western , or first of all uncritical of something because it is western science! And HOW MUCH we can be enriched by worldview which are different to our own!!!

This is particularly relevant in terms of an NZ context and connecting with Māori people. I have some connection and am increasingly learning about Te Ao Maori through my boyfriend and his whānau, as he gets more connected into his iwi and as he studied Te Reo and tikanga. This is a massive joy to me, and in terms of values and spirituality I can see so much connection to a christian worldview. In terms of long term goals my and my boyfriend would love to be up north serving his iwi, so I want to grow in understanding of this - particularly when it seems that Māor people are increasingly anti-christian. (I don’t know how this aligns with my design practice, but it’s a journey and I'm waiting to find out) This is a personal area of growth for me and my boyfriend aligning cultural understanding with our faith - and also understanding when we need to put our faith over historical cultural ways of life. For choosing to become christian creates changes in patterns of life for every person - western or not. Choosing Christ as Lord means He defines who we are now. But this is enriching to identity and should not be destroying. Christianity should not, for example, mean the loss of language at all.

So in terms of critically looking at my design/reseach practice as I approach it from a Christian perspective, there is a lot to consider. A lot of bias - in me and maybe against my beliefs. That’s okay! It’s good to be aware of and is a lot to work with and through.

#critical thinking

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warninggraphiccontent · 4 years ago

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6 August 2021

The sun is shinin', come on get mappy

Ever found yourself floating aimlessly around the alphabet soup of UK government departments doing data, wondering who's responsible for what? Or lost track of all the interesting initiatives that you might be able to get involved with or learn from?

I'm delighted to be running a new project with the ODI that tries to help with that. We're mapping data responsibility and initiatives across the UK government here, so please do tell us what we've missed and comment on what we've already got. It'll be open for comments until Friday 10 September, so you have all summer to contribute.

There's a launch page explaining everything here, and we're also going to be publishing a blogpost a week focusing on a particular area of the ODI manifesto. This week is infrastructure week. Keep an eye on the ODI blog for future ones.

In other news:

A date for your diary - the 22nd Data Bites will be taking place on Wednesday 8 September at 6pm, thanks to ADR UK and the ESRC. Details will appear here in due course - which is also where you can catch up on the previous 21 events.

I'm also chairing an event for IfG at this year's Labour Party conference - more here.

I'm really sad to see this news about Understanding Patient Data (full disclosure - I'm doing some work for them at the moment). Natalie has done a terrific job, and I really hope their work is able to find a home elsewhere - it's more important than ever, given recent events.

Nick Timmins' new report on how the Department for Education handled the pandemic is well worth a read. Warning: contains mutant algorithms. Diginomica pull out some lessons on those here; my piece from last summer on that is here; and there are more links below.

If you enjoyed this account of what allegedly happened to that Spectator piece on Marcus Rashford (h/t Alice), pour yourself a cup of tea and enjoy this story of something similar from my time at the Media Standards Trust.

I did it - my first half marathon since 2019. There's still time to sponsor me and donate to the excellent Tommy's, here.

Warning: Graphic Content will now be taking a break until September. I'll be posting some things on Medium as well as on Twitter in the meantime, so do follow me there. If you need some other data-related newsletters, podcasts or event series to tide you over, there's a list for that. And if you know anyone else who should subscribe, encourage them to start the new school/parliamentary term in September the right way by signing up.

Enjoy the summer, thanks for subscribing, and see you in September

Gavin

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Graphic content

Tokyo shift

Olympic records are being broken at a record pace* (The Economist)

How the Olympics became bigger and more diverse* (The Economist)

What the Tokyo medal table tells us halfway through the Games (BBC Sport)

Russia and Kenya take the podium in the athletics doping contest* (The Economist)

Tokyo Olympics: Will Team GB beat its record-breaking performance in Rio? (Sky News)

20 Chinese gold medal contenders at the Tokyo 2020 Olympics (South China Morning Post)

Olympians are probably older — and younger — than you think* (Washington Post)

The Fastest Men In The World Are Still Chasing Usain Bolt (FiveThirtyEight)

Here's how Sydney McLaughlin of the U.S. won the 400-meter hurdles at #Tokyo2020, breaking her own world record (New York Times - more here)

Katie Ledecky's historic week, day by day* (Washington Post)

The Climber: Adam Ondra | The Hurdler: Dalilah Muhammad | The Gymnast: Sunisa Lee | The Swimmer: Simone Manuel (New York Times)

Viral content

Why are Covid cases falling in the UK?* (FT)

Excess deaths in your neighbourhood during the coronavirus (COVID-19) pandemic (ONS)

COVID-19: Sewage surveillance reveals 'widespread increase' of coronavirus in England last month (Sky News)

Covid travel: which countries are on the green, amber and red lists? (The Guardian)

Tim Spector: the data explorer who uncovered vital clues to Covid* (FT)

Which Americans are against the jab?* (The Economist)

Chart: Less than 0.1% of vaccinated Americans tested positive for COVID-19 (Axios)

America is plummeting down the global vaccination league table* (The Economist)

Florida’s hospitals set a bleak pandemic record* (FT)

How Europe, After a Fumbling Start, Overtook the U.S. in Vaccination* (New York Times)

Side effects

Why the pandemic is not making your rent cheaper* (New Statesman)

New York City Homebuyers Are Back, and They’re Looking for Deals* (Bloomberg)

Net worth

How Google quietly funds Europe’s leading tech policy institutes* (New Statesman)

Explore different settlements on the balance of power and what they mean for the future of the Internet (Demos)

Ransomware attacks rise despite US call for clampdown on cybercriminals* (FT)

Environment

Planetary ‘vital signs’ show extent of climate stress — and some hope* (FT)

How heat dome has sparked worst wildfires in a decade across parts of Southern Europe (Sky News)

Beyond human endurance: How climate change is making parts of the world too hot and humid to survive* (Washington Post)

Race

The 'ethnic data gap' on voters - and why it matters to parties and pollsters (Sky News)

Hollywood reaps the rewards of becoming more diverse* (The Economist)

The first ever machine generated map of the @UKParliament treaty procedure (UK Parliament)

Favourability towards Boris Johnson falls to lowest level since October (Ipsos MORI)

Productivity: firing on all cylinders (IfG)

Mathematician Hannah Fry: ‘I’m sure there’s lots of tutting — but not to my face* (FT)

Everywhere else

‘It’s Huge, It’s Historic, It’s Unheard-of’: Drug Overdose Deaths Spike* (The Upshot)

Elon Musk’s Outrageous Moonshot Award Catches on Across America* (Bloomberg)

Police shootings continue daily, despite a pandemic, protests and pushes for reform* (Washington Post)

People in the West are least worried about hurtful speech* (The Economist)

An Inca highway still benefits people living nearby* (The Economist)

German election 2021: The New Statesman’s poll tracker* (New Statesman)

Meta data

Information health

Statistics informing quarantine requirements for arrivals to England (Office for Statistics Regulation)

Review of NHS Test and Trace (England) and NHS COVID-19 app statistics (Office for Statistics Regulation)

What we mean by trustworthy use of patient data (Understanding Patient Data)

The future of Understanding Patient Data (Understanding Patient Data)

Lord Bethell’s new phone (Good Law Project)

UK government defends deleting all trace of job vacancies after appointing Matt Hancock's lover to health department board (Business Insider)

Education, education, education

Schools and coronavirus: The government’s handling of education during the pandemic (IfG)

The UK A-Level ‘COVID-19 algorithm fiasco’ and lessons for the enterprise (diginomica)

Four things government must learn from the A-level algorithm fiasco (me from last year for IfG)