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danwhobrowses · 5 months ago

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One Piece Chapter 1122 - Initial Thoughts

And we're back

A bit late, scanlations didn't come in my time zone yesterday and I've been unable to graft out time until now. Also My Hero's final chapter happened so I had to read that too.

But finally, back from another break in One Piece. It's 'getting off this island, this time, for real' time in Egghead, the Sunny still soars in the sky, Vegapunk's broadcast is still ongoing and there are some lingering factors still to consider.

Let's see how the chapter unravels them

Spoilers for the Chapter, Support the Official Release too

Sadly Yamato's cover story has been so boring that for a split second I got excited about seeing a Smoker cover story, but instead it's a redraw of an artwork (edit: a redraw of My Hero's mangaka's artwork, which is sweet), he looks badass though - Oda make Smoker badass more in the story! He and Tashigi need some Ws

Vegapunk's last reveal that the One Piece will decide the fate of the world has led to international worry, many not exactly thrilled with the idea that the fate of the world is likely gonna be in the hands of pirates

Pirates of course are happy, the world's smartest man just told everyone that the One Piece exists, there was more deniability when it came from a dying pirate after all

Impel Down are rambunctious, as Oda reminds us that the broadcast is piggybacking off of all Den Den Mushi whether people like it or not

Many misc Vice Admirals don't like that reveal either

Koby though, remembering his first encounter with Luffy, is forced to put himself at odds with his friend once more

Koby you know Luffy ain't like that can't you just resolve to stop his opposition?

Buggy meanwhile wins the hearts of his masses by refuting that it'll be 'his world' but rather 'our world'

His gesture at least spares him more assault from Crocodile and Mihawk - who it was really directed to

Devon and Augur are still with Caribou, asking Teach if they should kill him

Blackbeard seems willing to hear him out, which means a lot of worry awaiting Fishman Island and Wano

Vegapunk's broadcast is once again cut off after Vegapunk utters Joy Boy, with Warcury having once again damaged Emeth

As the giants call out to it's mecha kin, the Den Den Mushi inside explodes, ending the transmission once and for all

Up with the Sunny, V. Nusjuro makes chase, I guess he can gallop on air?

Zoro does prepare to confront V. Nusjuro but it's time for Emeth to do THAT JUTSU

He apologizes to Joy Boy and charges

He also apologizes to Luffy, realising that he's not the same person

What a spread though, it's like a painting seeing the Sunny flying overhead, the Gorosei's forms one side, Emeth in the middle and the longboat on the other, also with the reveal that Emeth is sorry that he couldn't make Joy Boy King

King of what though? It was implied that he led the Ancient Kingdom, perhaps he like Rocks wanted to be King of the World?

Emeth asks for Luffy's name, and he does his usual declaration

Pulling out a knotted rope, Emeth marvels at him having D. in his name

He unknots the rope, and an immense Conqueror's Haki emits from it!

Emeth thanks Luffy for letting it hear the Drums of Liberation once more, and demands that he doesn't die

The haki is so intense that not only does it revert the Gorosei to their human state, but it sends Warcury, V. Nusjuro and Ju Peter back to Marejois!!!

Mars is there waiting having been given the Manga's second successful space launch

Oh Shit! Imu even felt it, and they are rattled!

I wonder if this confirms that Imu is somehow connected to the Gorosei in some way?

Also we have a new shaded character acting as an attendant to Imu, wonder who that is?

The Sunny lands safely, much to the crew's relief

Only Saturn remains, staring down Emeth as he remembers an encounter with Joy Boy

Sadly it seems Joy Boy wasn't a giant, his silhouette is small and he must look Luffy-like

In the past Joy Boy tells Emeth that 'the time is at hand'

That Haki was Joy Boy's, which he embedded into a knot for Emeth to use, knowing that Emeth will likely outlive him

He permits Emeth to untie the knot when their life or someone's life that they care about is in danger, so they will be there to help

Joy Boy happily notes how it's like saving him with help from the past

Emeth seems to shut down once more, heartbreaking that his last memory is hoping that he won't feel lonely

Welp we pour one out for Emeth this chapter

This was an exciting chapter to come back to, and it once again puts Haki in a new perspective. Shanks has already shown that Conqueror's Haki can be utilised differently than just a shockwave or coating, but this was a lingering imbuement, something that stayed intact long after Joy Boy died, that is very fascinating.

The fact that Joy Boy's Haki could repel the Gorosei shows the ceiling Luffy and co need to get to as well, it feels like we've just breached the surface of how powerful Haki can really be, the will of the spirit, the quality of a King. And we have to mull on that, because being King does mean a lot, the end of the chapter shows Joy Boy - at least his silhouette - to be a caring person, focused on being able to help his friends, but what did Emeth want to make him king of? Was it Joy Boy's will to be king too or was it like a Whitebeard thing where he wanted to make Ace king? I'm not saying there's duplicity but the conflict between Joy Boy and the very shaken Imu could be a conflict of ruling philosophy, two extremes rather than a comfy middle ground. Food for thought at least.

With the threat of the Gorosei gone, minus Saturn we should still keep an eye on him (maybe Saturn didn't get sent back because he did technically sail there? The rest were summoned), the crew are safe to leave. But there's still other matters to deal with; the mother flame is still in Saturn's hands now, York that bitch is still alive, there's also the worldwide reaction and however Morgans wants to spin this (we never did get a reason to have a video feed from Vegapunk? Maybe his explanation of the D or the recent cutoff had the visual aids?) and there's whatever CP0 will do - I doubt Saturn will treat their and Kizaru's failures as unable to be helped, not to mention Sentomaru and Stussy's treachery.

The all out pirate war is on the horizon though, Koby looks like he's gonna step up again even if it means opposing Luffy, but as we leave Egghead the world is for sure about to be shaken more than it's ever been shook.

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adarkrainbow · 6 months ago

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Playing with fire, Transgression as truth (A)

The second article from the "Queering the Grimms" anthology I offer you was written by Kay Turner. It is part of the section "Queering the Tales" and its full title is...

Playing with fire: Trangression as truth in Grimms' Frau Trude

For many years I have been inordinately curious about an obscure Grimms’ fairy tale called “Frau Trude” (ATU 334). The tale concerns a witch and a girl and how their passionate relationship comes into being despite staunch prohibition. As a story arguing the nature of “truth,” it makes numerous direct and indirect claims concerning identity, feeling, sex and gender fluidity, kinship, and being—all within the framework of transgression and transformation, or perhaps better put, transgression as transformation

I make much of this brief tale, one infrequently given scholarly consideration. And yet, as I see it, and as the history of queer studies attests, the very task of queering the Grimms’ or any other traditional tales is to seek out the small and little-known story to discover queer possibility in the traces it offers, realizing that, as José Muñoz states, “instead of being clearly available as visible evidence, queerness has instead existed as innuendo, gossip, fleeting moments, and performances” (1996, 6). “Frau Trude” is a model for tracking the traces of queer existence in folklore.

The manifest and various relations between witches and girls in fairy tales, as between old women and young girls generally, have been undertheorized. Yet such attraction is as old as Sappho, who pined for and then penned her desire for lithe Atthis and youthful Anactoria.1 Fairy-tale scholarship rarely dips a proverbial toe into interpretive waters that might impel readers to take account of attractions, rather than repulsions, between witches and maidens. But in both well-known and obscure tales, girls find themselves drawn consciously toward, or inadvertently encountering, old women in various roles, including witch, sorceress, old woman, very old woman, grandmother, mother, mistress, wise woman, old hag, and stepmother.2 The old woman/young girl character dyad shapes a complex narrative model of female relationships, some of which beg for queer interpretation. Thus, working through “Frau Trude” leads down a winding path of transgressive wonder to arrive at bolder possibilities for understanding the diversities of desire between older and younger women in other fairy tales.3

The Grimms’ Kinder- und Hausmärchen is filled with a rich assortment of Frau Trude’s “sisters.” Though it is beyond my scope here, reading “Frau Trude” intertextually with others of its kind would no doubt bear analytical fruit concerning the structural position queer old women occupy in the fairy tale. Whether they are malevolent, like the cannibal in “Hansel and Gretel” (ATU 327A) and the kidnapper of one thousand girls in “Jorinda and Joringle” (ATU 405), or benevolent, like the old woman who hides the girl in “The Robber Bridegroom” (ATU 955) and provides for her in “The Sweet Porridge” (ATU 565), the charisma associated with these female figures emanates from their unusual propensity for agency. Housed in their marginality, abjection, and private nature, they seem to take secret delight in going it alone in those cottages deep in the woods. Frau Trude is among them: an outcast and outlaw living in her self-created house of marvels. But she finds her solitary confinement has lost its allure

Frau Trude’s tale merits reading in its entirety. I use Bettina Hutschek’s translation of “Frau Trude,” from the version in Hans-Jörg Uther’s (1996, 1:216–17) edition of the Grimms’ seventh edition of the KHM. 4

There was once a little girl who was very obstinate and willful, and who never obeyed when her elders spoke to her; and so how could she be happy? One day she said to her parents, “I have heard so much of Frau Trude, that I will go and see her. People say she has a marvelous[1]looking place and they say there are many weird things in her house, so I became very curious.” Her parents, however, forbade her going, saying, “Frau Trude is a wicked old woman, who performs godless deeds, and if you go to see her, you are no longer our child.” The girl, however, did not care about her parents’ interdiction and went to Frau Trude’s house. When she arrived there, Frau Trude asked her, “Why are you so pale?” “Ah” replied she, trembling all over her body, “I have frightened myself so with what I have just seen.” “What have you seen?” “I saw a black man on your steps.” “That was a collier.” “Then I saw a green man.” “That was a hunter.” “Then I saw a blood-red man.” “That was a butcher.” “Oh, Frau Trude, I was most terrified, I peeped through the window, and did not see you, but the devil with a fiery head.” “Oh, ho,” she said, “Then you have seen the witch in her proper dress. For you I have long waited, and longed for you, and now you shall give me light.” Thus she transformed the girl into a block of wood, and then threw it into the fire. And when it was in full glow, she sat down next to it, warmed herself on it and said, “For once it burns brightly!”

I read certain structural binaries—girl/woman; young/old; youth/age; life/death; human/witch (devil); parents/witch (lover); home/house; blood/ non-blood relations; fire/light; and light/dark—as leverage to interpret this short but provocative tale as it marks intergenerational mutual attraction and lesbian seduction, inviting understanding of strategic ways that social and sexual prohibitions may be overcome symbolically and imaginatively. Indebted to a generation of queer and LGBT academics who began broadly theorizing the heterogeneity of sex in the 1980s, I work with “Frau Trude” to invite folklore and fairy-tale scholars to touch queer theory in new ways.5 Queer scholarship generally accepts postmodern assumptions concerning the contradictory and contingent nature of signs and their systems of representation. I follow medievalist Carolyn Dinshaw, claiming for queer fairy tale analysis what she asserts for a queer history interested in unraveling the multiple meanings of sex (including sex acts, sexual desire, sexual identity, and sexual subjectivity): “Sex . . . is at least in part contingent upon systems of representation, and, as such, is fissured and contradictory. Its meaning or significance cannot definitively be pinned down without exclusivity or reductiveness, and such meanings and significances shift, moreover, with shifts in context and location” (1999, 12). Sounds like the stuff of folklore, doesn’t it? But Dinshaw’s new twist helps us rethink traditional narrative, suggesting that when queerness touches interpretation, it demonstrates “something disjunctive within unities that are presumed unproblematic, even natural. I speak of the tactile, ‘touch,’ because I feel queerness work by contiguity and displacement; like metonymy as distinct from metaphor, queerness knocks signifiers loose, ungrounding bodies, making them strange, working in this way to provoke perceptual shifts and subsequent corporeal response in those touched” (151).

There may be no better narrative site for discovering strange, ungrounded bodies and contingent sexual meanings than the fairy-tale genre, which problematizes desire, convened as wish fulfillment set in the realm of enchantment. Operating as a trope for the non-normative (but not necessarily the non-heteronormative), enchantment’s liminal state invites speculation along queer lines. Even if many tales hurtle headlong toward normative reunion, marriage, and stability, often the route navigates a topsy-turvy space filled with marvels, magic, and weird encounters that don’t simply contradict the “normal” but offer, or at least hint at, alternative possibilities for fulfilling desires that might alter individual destinies. Remarkably, in the case of “Frau Trude,” disenchantment never even occurs; rather, the witch’s marvelous realm is queered as a new home for the young girl and the old woman.

If sex, desire, and pleasure can signify heterogeneously in the fairy tale, attendant issues of kinship, family, and spousal attachment come to the fore. What narrative room does the genre supply to enlarge our consideration of relational bonds across binary differences of age, status, gender, sex, and even species? The heterogeneity of kinship is the central human problem the fairy tale presents, often queerly construed within the fundamental, if ambivalent and shifting, binary “belonging/exclusion.” Certain tales trans[1]pose the social and emotional tensions stemming from this division into architectural motifs (see, e.g., Labrie 2009). Two houses oppose each other in the landscape described by “Frau Trude.” One, symbolizing conventional belonging, is natal, heteronormative, parental, known; the other is non-kin based, homonormative, single dweller, strange. I seek in this chapter to demonstrate that the distance between them can be bridged by queer desire.

“Frau Trude” presents an especially useful example for exploring the predicament raised by these oppositions because the tale draws force from a considerably more profound one: natural/unnatural, or what Robert McRuer calls the ultimate binary of “who fits/who doesn’t” (1997, 143). The tale unmakes this divide’s inexorability by different terms of desire and agency. Queering, as a utopian project built with the brick and mortar of failure to comply, privileges the necessity of that which not only does not fit but chooses not to fit. “Frau Trude” offers two “choosey” gals—stubborn, unruly, in a word, perverse—who prove unwilling to belong to anything or anyone but themselves and each other

ENCOUNTERING “FRAU TRUDE”

My initial encounter with “Frau Trude” occurred in 1998. Invited to teach as a guest professor at the University of Winnipeg by co-editor Pauline Green[1]hill, I prepared a course called Sexualities, Folklore, and Popular Culture. For a session on folk narrative, I wanted us to study the fairy tale because the feminist scholarship in this area had by that time matured into its own fertile field of reconsiderations and new ideas. Indeed, feminist reimagin[1]ings of the Grimms’ and other tales had reached an apex of production. Among the rewriters, Irish novelist Emma Donoghue’s Kissing the Witch proffered an explicitly lesbian take. I vividly remember my first reading of her version of “Rapunzel” in which the sorceress and the long-tressed girl, after much despair, separation, and longing, come back together as lovers in the tale’s end (1997, 83–99).

I wondered how Donoghue got there. Did the Grimms’ version of the tale embed motifs, functions, or structural oppositions that made such rei[1]magining logical? Bonnie Zimmerman would answer that lesbianism as a way of knowing the world affects how we read literature, that lesbians may willfully “misread” texts, adopting “a perverse strategy of reading” (1993, 139). But what stood out most at the time and has sustained me through[1]out these Grimm years was Zimmerman’s instruction that appropriation through reading perversely requires “hints and possibilities that the author, consciously or not, has strewn in the text” (144). Thus while reading Jack Zipes’s (1992) translation of the KHM in preparation to teach, I found myself regularly exclaiming my discovery of deeply queer “hints and possibilities.” Numerous tales held such requirements, especially lesser-known ones such as “The Three Spinners,” “The Star Coins,” “The Grave Mound,” and, of course, “Frau Trude,” which struck me then, as it does now, as the queerest tale of all.

For class, I assigned Kay F. Stone’s (1993) feminist rewriting of “Frau Trude” called “The Curious Girl.” Comparing the Grimms’ original with her adaptation, what a difference a gay makes! With the encouragement and help of my young lesbian students, we interpreted “Frau Trude” as a classic “coming-out story,” an adumbration replete with the desire mixed with prohibition and fear that now distinguishes that genre. We found plenty of sex, too. Stone visited our class and I remember the evening’s brilliant explosion of ideas as we engaged with her. She conceded that, though she had “lived with” the tale for many years, returning again and again as she rewrote and told it, she had never thought of it in queer sexual terms.

Rather Stone’s interest landed in her conviction that the girl was neither destroyed nor punished for being too curious; instead, her inquisitiveness was prized. In Stone’s retelling, the girl is transformed into a log, becoming fire, a shower of sparks, a bird, a hare, and a fish. “Through these meta[1]morphoses, she experienced the sacrifice of her ego-self, which . . . gave her even greater power—freedom over herself as a fuller human being” (1993, 298–99), rewarded finally with her own story of self-knowledge and fulfillment. At the essay’s close, Stone summarizes the evolution of her relationship to “Frau Trude” with a question equally pertinent to my interpretation: “And I wonder: Is it possible to ignite oneself without being consumed?” (304). Our answers are different, but compatible.6

I, too, began to live with “Frau Trude.” Years passed and still she nagged, so to speak. My interest waxed and waned and slowly changed. Whereas earlier my interest—like the other Kay’s—centered on the girl, later I felt more and more Frau Trude’s fire drawing me to her hearth. It seemed she and I had been waiting a long time for each other. I became the curious scholar compelled to meet the witch.

THE TALE: ITS HISTORY, VARIANTS AND LANGUAGE

Numbered 43 in the KHM, “Frau Trude” (“Mistress Trude” or “Mother Trude”) conforms to ATU 334, “Household of the Witch.” It belongs to the complex of old “devourer tales” (Ranke 1990, 617–18), which also includes 333B, “The Cannibal Godfather (Godmother),” subsumed by Uther under ATU 334 in his recently updated tale type index: “A girl (woman) disregards the warning of friendly animals (parts of her body) and visits her godmother (grandmother) who is a cannibal. The girl sees many gruesome things (e.g., fence of bones, barrel full of blood, and her godmother with an animal’s head). When the girl tells her godmother what she has seen she is killed (devoured)” (2004, 1:225).

The Aarne-Thompson synopsis yields less information but more intrigue: “Visit to house of a witch (or other horrible creature). Many gruesome and marvelous happenings. Lucky escape” (Aarne 1961, 125). Demonstrating the longevity of ATU 334’s hundreds of variants, Kurt Ranke (1978, 98–100) traces its roots in Eastern Europe, with subsequent migration west from Slavic and Baltic realms—Poland, Lithuania, former Yugoslavia (Bosnia and Serbia)—to eastern Germany. He speculates that ATU 334 evolved from a myth concerning the realm of death, then changed to a macabre, demonic tale, and finally to a somewhat farcical one, happily ending with escape from the ogre. He counts about ninety variants, including thirty-six from Germany alone, where the historic-geographic record demonstrates the story’s notable change to its milder version.

In his study devoted to the form and function of gruesome children’s tales, Walter Scherf (1987) interprets twenty-seven thematically related types, including AT(U) 334, with “Frau Trude” as an example. To reflect its pro[1]gressive shift in content from horrific to moderate, he proposes the tale’s division into Eastern (334A+) and Western (334B+) European versions of different oikotypes (61–62). Reminiscent of Russian Baba Yaga tales, the descriptively more ghastly Eastern versions feature, for example, a fence strung with human intestines and doorknobs made of hands.7 Discovering her “true nature”—not woman but ogress—is a pivotal plot device in ATU 334, often intensified through a series of riddle-like questions and answers concerning what the visitor has seen at the witch’s house. In numerous variants, the girl (cousin, neighbor woman, sister, rarely a male) encounters frightening figures right before meeting the witch (Ranke 1990, 617). Once inside the house, the formulaic interrogation about these individuals be[1]gins. Initially ameliorating, the discourse recalibrates markedly in ATU 334 when the girl states she also saw a horrifying creature, witch, or devil. The ogress identified as such then usually kills her visitor but in “Frau Trude” transforms her

In older variants typically a horrifying devourer and uncompromising murderer, the witch—or death-woman (Tödin)—sometimes possesses a flexible animal head she removes at will, for the purpose of picking lice. This ogress who became Frau Trude changes dramatically as she moves west to Germany. For one thing, she gains a proper name. Likely a descrip[1]tion of her nature, it may be derived from trut or drut, a type of demon well known in the Bavarian-Austrian regions (Uther 1996, 4:88).8 As the gory, death-driven tale slowly modulates, the marvelous replaces the gruesome until finally “only a fairy tale, moreover for children, remains”; one that “is totally disarmed . . . and trivialized” (Ranke 1978, 99). If Ranke regrets that the German variant has been belittled, I offer a remedy for his woe. Once drained of the explicitly gory and murderous death drive, a different drive, equally potent, replaces it in the tale

The Grimms’ version of “Frau Trude,” first published in the 1837 KHM, substituted for “Die wunderliche Gasterei” (“The Strange Feast”), the co[1]medic variant of ATU 334, which filled slot 43 in the first two editions. This innocuous tale features a liverwurst escaping from a murderous blood sausage (Zipes 1992, 658–59). Zipes suggests the change happened because “The Strange Feast” too closely resembled number 42 in the KHM, “The Godfather,” ATU 332 (738). “Frau Trude” derives from a literary source, Meier Teddy’s Frauentaschenbuch (1823), a pocket book for women including the poem “Little Cousin and Frau Trude” (see Bolte and Polívka 1913, 377), which the Grimms retold in prose.9

According to Uther (1996, 4:88), Wilhelm Grimm conceived a new open[1]ing, creating a didactic tale to show children the punishment that results from disobedience to their parents. One wishes to have been present in the editorial chambers when the brothers decided to make the switch from sausage to witch. No doubt, sometime between publishing the volume of notes for the second edition in 1822 and the publication of the third edition of the tales in 1837, one or both read Meier Teddy’s little lyric tale and saw in it an opportunity to intensify their project’s moral agenda. Moving from meat to Mädchen (maiden), from comedy to tragedy, from lucky escape to murder seems to me a profound reflection of the Grimms’ desire to solidify their narrative portrayal of social values such as women’s silence and obedi[1]ence. Equally, it might signal their worry over changing mores, including those sexual ones slightly slipping out of closets across Europe, a result of the first prospects of the Enlightenment’s individual freedoms.10

“Frau Trude” evidences these concerns in its use of language. Though compact, the Grimms’ version nonetheless spends a wealth of linguistic currency in direct speech of an intense and ardor-laden kind: argumentative between daughter and parents, then discursive between girl and witch. Though the story begins with a standard “There once was a little girl” followed by description of her obstinate and stubborn ways, the third-person narrator soon gives over the account to the first-person protagonists. Plunged immediately into a tense, dramatic dialogue, the reader first hears the girl’s definitive, assertive tone as she demonstrates her desire to go to Frau Trude. Her parents respond by admonishing her and denouncing the Frau. A few lines later, in quick succession, girl and Frau engage with each other in interrogative, reported, expository, and declarative speech modes. Having transformed her visitor into fire, Frau Trude sits down by her bright flame and, speaking to herself/to the girl, declares her satisfaction.

The exceptionally argumentative and chatty girl and the loquacious witch by no means hold to the “silent woman” protocol Ruth Bottigheimer (1986, 116) finds in full swing in Germany by the 1830s, when “Frau Trude” was first published. Bottigheimer’s correlation of the Grimm tales’ speech patterns, gender hierarchies, and values is suggestive for “Frau Trude.” In what she calls the “century of criticism” celebrating “Wilhelm Grimm’s shift from indirect speech in the earliest versions of individual tales to direct speech in the later and final versions,” she finds, “No critic has asked, ‘Who speaks?’ or ‘Under what circumstances?’” (1987, 52). In contrast, Bottigheimer argues that Wilhelm consciously determined how much speech he would bestow any particular character (53).

Finding “good” girls and women muted or relegated to indirect speech and authority, often male, noted in direct speech, Bottigheimer also discovers that if “sprach” (spoke) too often introduces speech from a woman’s mouth, “it usually heralds a bad hat” (1987, 55). That girl and witch both speak di[1]rectly and constantly suggests Wilhelm’s editorial choices in “Frau Trude.” He loads the tale with a garrulousness that announces how “bad” he thinks both protagonists are. Again Bottigheimer is suggestive: “Transgressions can be carried out knowingly or unwittingly. Conscious transgressions by girls occur in at least four tales; in two the girls are punished and in two they escape. These two possible outcomes correspond with the good or evil nature of the prohibitor.” Bottigheimer says “Frau Trude” exemplifies a knowingly disobedient girl’s punishment, foretold in Grimm’s rhetorical insertion at the tale’s start: “so how could she fare well?” (88). We thank Wilhelm Grimm for filling the tale with direct speech, for thereby inadvertently he raises our awareness of the impassioned relationships between the characters by giving us access to their heightened emotional states (including fascination, anger, resentment, fear, yearning, and contentment) expressed in a range of speech acts.

#queering the grimm #queering the grimms #frau trude #mother trudy #grimm fairytales #queer fairytales #fairytale analysis #queer reading #kay turner #fairytale types

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