#and i had to look at how i look at literature

[thetransfemininereview]

Do you have any recommendations for gaining access to these books? I have a pretty long list of ones I want to read but can't afford most of them. The library has the big ones (Whipping Girl, Detransition Baby, Nevada) but the newer or less well known ones have been difficult to find

No this is actually so real though. Let's talk about it.

One of the big problems that I'm trying to address here is the fact that there is a lack of ability for trans books to reach their perhaps core audience, trans people. Over the last few years trans librarians have been trying to increase the number of trans books in circulation, but that's super contingent on where you live. Not to mention the fact that, at least in the US, states are actively trying to criminalize circulating trans books in libraries.

I know Tumblr is allergic to economics a lot of the time, but you've gotta look at the math to understand why this is the current state of things. Essentially it's a vicious cycle. Lots of trans people can't afford to buy a $25 hardcover on a whim, and traditional publishers put a lot of stock into how well a book performs on release, cause that's how they make money. So when the core audience can't afford it and isn't marketable, they register that as a lower demand, which means that fewer trans books get published, fewer end up in libraries, and the cost of an individual book is driven higher. Low demand, high price. Then because the price is high, trans people cant afford the books, and the cycle continues.

It is the dilemma of the transfemme author that most of their core audience is also gonna be transfemme. It's a self-selecting process that's very hard to break out of. And at the end of the day, there just isn't very much money to go around in the trans community because trans people so frequently get cut off from generational wealth. So when you get an ecosystem of transfemmes selling books to other transfemmes who also sell books to them....

I took a class on the Sociology of Art a few years ago, and one of my core takeaways was that the boundaries of a field (yes my teacher liked Bourdieu, come for her ass, not mine) are fundamentally governed by institutions and entities with the money and power to dictate their rules of play. In Althusser's language, you would call those ISAs (Ideological State Apparatuses). When you read Weber, he talks about how culture needs to have some level of social legitimation in order to become a force of power in the world (I butchered that but it's the gist lol). And it's like.

The people who have the money to read the books dictate which books receive the money. Organizations like Lambda Literary, presses, big name publishers, etc. One of the big problems in the field of trans literature up to this point is that the only people who've had the money to produce social legitimation from the organizing schema/matrix of an ISA have also only chosen to read a very small slice of the extant literature. Then, because those non-profits and presses and companies only champion a small selection of books, that in turn dictates for those who have less money which of those books deserve social attention, critical acclaim, sales, library slots, etc.

And like, all of that is an illusion, but it produces a material reality for the transfemme author. It dictates the material conditions for the reproduction of said literature and who can participate in it.

So, what's to be done about it?

"Buzz" is a big deal in the publishing industry. A good review, an award, a thinkpiece - all of that can be the difference between a successful book and a flop. Publishers look for that. If nobody talks about a book and it doesn't sell well, they'll drop the author faster than you can say Susan. Again, vicious cycle. But like, at the end of the day, a "field," an "ISA," a "legitimated" work of art, that's all just a class prerogative. The different between a Very Important Literary Blog and a "person talking about books on the internet" is money. Like. It's just money. The reality of it is really banal.

It's who has the money to read books. It's who has the money and time to write about books. It's who has the money to gain institutional access to book. It's who has the money to read enough to say, "Oh, well that might seem true, but if you look at X, Y, and Z it's clearly not." It takes money to fact check. It takes money to challenge institutional myths. It takes money because when an institution makes a claim about a book and none of the people who care enough to argue with them have the cash to challenge it, the claim tends to stand.

And like, the honest truth is that between the books, the website, and the education, I've spent a lot of money bringing this website online in the form you're reading it in. A lot of the books I've read were really fucking expensive. I grew up in a wealthy family, my parents were accepting. They have both the means and the desire to support my passion projects. I'm lucky.

The goal of The Transfeminine Review is to create at least one independently trans-run website that can challenge that brand of institutional legitimation work from non-profits and big publishers and cis outlets, a website that can actually highlight transfeminine literature as it exists in the world, not as the Big 5 publishers have dictated it. Topside, Metonymy, Arsenal Pulp, LittlePuss, etc. They've all taken on that challenge from the angle of producing books, but there hasn't been a corollary trans secondary ecosystem dedicated to documenting and critiquing them. Or there is, but it's extremely diffuse and hard to find if you don't know exactly what you're looking for. Then there are the general queer outlets, like them. and whatnot, and they do their best but literature is a side hustle at best. There's the queer-helmed literary outlets like Electric Lit (shout out Denne Michele Norris) but they spend most of their time talking about cis authors. None of it is designed to help or review self-published literature from poor authors, and let's be frank, most transfeminine publishing is still done indie or self.

It's an investment, essentially. On the longshot, the hope is that this website will inspire others to do similar work, and that eventually through the collective efforts of trans authors and their readership, we can begin to change the math on trans publishing and help to spread it to a wider audience.

Now.

None of this changes the current reality that trans lit is expensive.

Unless you're lucky, you're probably not gonna find much trans lit at the local library even if you dig for it. Another good place to find free trans books is transreads.org, but their selection is mostly non-fiction, and the fiction is, again, largely the same few books you can find elsewhere. Another good online queer library is https://www.queerliberationlibrary.org/, which might be a good place to look (shoutout to Skye for bringing it to my attention!)

There are a couple of cheaper places to find trans books. If you shop around on itch.io, a lot of self-published trans authors have "name your price" models, which can be more accessible. Creators on itch will also bundle their work on a fairly regular basis, so you can get like 10-20 books for $10, which is, by my token, an excellent price.

If there's a particular author you're interested in, a lot of self-pub trans authors have Patreon accounts where they serialize their novels. You also can find serial (pre-edit) versions of a bunch of books on Scribblehub.

This has gotten steadily less affordable over the last few years cause Amazon is evil, but Kindle Unlimited ($11.99 a month, but there's a free trial) has thousands of trans books. Most of them are erotica, but like, there are a lot of hidden gems in there, and if you're a voracious enough reader, then it'll definitely be much cheaper per book than buying trad.

The problem with all of these, though, is that they tend to favor specific genres and tropes. Like there's only so much variety on itch.io or Scribblehub or transreads.org or KU. So if you like the genre conventions, then awesome! But if you don't it's probably not for you.

And none of it will give you access to some of the rare older tradpub books or the new but scarce releases that I've been going through unless you're willing to pay the full price for them.

I wish I had a better answer, but that's unfortunately the current state of the industry :/

Hopefully this ramble is helpful.

Beth

[atamascolily]

Sometimes I forget that Madoka's magical girl bow is literally a rose, and that we see it sprout and grow into its final form in its first appearance.

Homura also gets a bow in this episode, which I have always interpreted as the manifestation of her wish to remember Madoka's existence (since her old wish was rendered invalid by Madoka's becoming an eternal concept), thus becoming "Bowmura Akemi". However, it's not until it manifests in Rebellion that we see it isn't merely evocative of Madoka's bow, but its mirror.

Is the height difference between the bows significant here? I have no idea. Ditto for Madoka's bow being in bud while Homura's is in full flower.

Okay. So you remember Walpurgisnacht's trees, right? Those weird things that are mostly in the background and which are never directly commented upon or explained, but which are juxtaposed with Homura an awful lot? There's a common trope in myth, literature, and fairy tales about planting a staff into a ground and having it grow and magically turn into a tree, and now I'm wondering, Is this where Walpurgisnacht's trees come from? Because what is a bow but a curved wooden staff tied to a string....?

And yes, the bow is a rose bow (or a black rose bow), and the trees are almost certainly cherry trees, so the botany gets a little mixed, but it probably doesn't matter since a) magic and/or metaphor, and b) Madoka is associated with both pink roses and pink cherry blossoms, just like Homura is associated with black roses and bare branches, so the symbolism still works out.

This is all highly speculative, and I have no idea if this is where SHAFT is going or if it's just a coincidence, but I can't look at the bow anymore without wondering what would happen if someone stuck it in the ground, and what it might become. Especially since we may end up seeing that bow again in Walpurgis no Kaiten.

Meanwhile, back in Rebellion, Homura and Madoka appear to be doing some kind of Connect (or proto-Connect, since the Magia Record concept hadn't been fully developed yet) akin to Madoka and Mami's Tiro Duet attack earlier in the film. What's interesting about this shot is that there's no sign of black roses anywhere, which is not how Connect usually manifests in Magia Record, where the nature of the fusion is more obvious (i.e., Kyouko's spear + Iroha's crossbow becomes a giant crossbow that fires spears instead of arrows in the MR anime), but which may symbolize how Homura "blooms" in Madoka's presence.

In addition, the bow is now huge and I think it's not only what they're holding in their hands, but also the entire structure that's supporting them (which has wings!!) because you can see two sets of purple and pink jewels on either side. Maybe it's just me, but the "branches" of the structure are awfully tree-like and I can see what might be a few leafy shoots by their feet.

Also, they appear to be standing in the canopy of the cherry tree that has blossomed in Homulilly's skull with no transition whatsoever, which is why the background is abruptly pink. Which raises a question I had never considered before: is their combined bow the cherry tree itself (or a part of it)??? Is that what's happening here??

And if that's truly the case, then maybe my earlier thought about Homura's black bow somehow becoming one of Walpurgisnacht's trees isn't so far off base after all...

[portraitofalinkonfyre]

Burning Love

Chapter 5

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The rest of the chain was outside by the time you managed to waddle downstairs, huddled around a cooking pot with Wild at the helm for breakfast.

"(Y/n)!" Wind greeted, waving you over with his bandaged arm, drawing the other's attention. You waved groggily, plopping down next to the youngest hero on a nearby log. "Is Four okay, we haven't seen him yet."

"You say that like we haven't been hearing him," Legend muttered with a scowl. You were too tired to defend Four's honor, so you just waved off the pantless hero with a scowl of your own.

"Well, he's alive."

"Goodie."

"Legend, I swear to Hylia—"

"OKay!" Warriors cut off your impending insult with a loud clap of his hands. "We'll continue this when everyone's had coffee, yeah?"

"Great plan," you shot him a thumbs up while Legend muttered something ineligible in the background. Wild materialized behind you with a cup of steaming goodness, handing it over wordlessly. "You're the man, Wild."

"I'm the man," he parroted, returning your high-five with the speed of a shooting arrow.

"So," Twilight interjected and the seriousness of the conversation instantly increased. "He's cleared for travel?"

"More or less," you sipped your coffee and felt a bit more Hylian than you did a minute ago. "I still haven't figured out what's going on with him," you paused, an idea hitting you harder than Wind's windhammer. "Time, didn't you mention a library being here?"

"The Town Archive," the oldest hero intoned, expression contemplative as he mulled over your idea. "I've visited it once before, but it's certainly old enough to have some information."

"It sounds like the best place to start," Sky joined the conversation with a hum. "We don't know how dangerous his ailment is, or even what it is, for that matter."

"I agree," said Hyrule, turning his curious gaze to Time. "How many books do you think it holds?"

"Hundreds, I'm sure," Time answered, tone curiously wistful, and if you weren't drooling at the thought of all that literature, you sure were when Wild passed you a bowl of egg-fried rice. He looked up with a resigned expression. "Four, how kind of you to join us."

You glanced back quick enough to watch Four half-stumble down the stairs, shuffling over in a distinct rendition of Wind's impression of a 'penguin'. "Good morning to you too, old man," he plopped down beside you and accepted Wild's procured bowl of rice with a grateful hum. "Where's my coffee?"

"You're too young to be drinking that," Legend replied, taking a very loud, very obnoxious sip of his own.

Four cocked his head, puzzled. "I'm am?"

"And I'm the Queen of Lorule."

"...You're not?"

"No."

"That's... unfortunate."

"Sigh."

"Anyways, what were we talking about?"

"You, short stack," said Warriors. "We were about to ask if you wanted to stay behind and recuperate?"

"Why would I?"

Warriors deadpanned. "You're not exactly at one-hundred percent, and someone's got to protect (Y/n)—"

"Um, rude," you crossed your arms over your chest, your spoon sticking out of your mouth like a pipe. "Bold of you to assume I'm not coming with."

Silence.

"Jeez, tough crowd..."

"You're tough," you retorted before realizing that wasn't the insult you'd been hoping for. "Anyways, the library might be our only shot at helping you, Four," you said, bumping shoulders and ignoring the withering gaze Twilight sent the shorter hero. "And! Books!"

"Can't miss out on that," the blacksmith responded with a grin.

"It seems we've come to an agreement," Time observed. "We leave in ten," he paused at Wind's puppy dog eyes, sighed, and somehow managed to look five years older. "...or when Wind has finished his breakfast."

Everyone cheered as Wind brought his spoon to his mouth in slow motion.

The town archive was unlike anything you'd seen before. Tall and imposing, its shadows towered way over your approaching group. Four's side was warm against your bare arm as you led him forward, not for lack of trust, but after seeing him wobble down the inn stairs, you were taking no chances.

"Woah," Four breathed. "It's bigger than my old forge."

"Yeah?"

"Definitely."

"Are you sure? You're not pulling my leg?"

"I think you'd know if I was pulling your leg."

"I hate you both," muttered Legend, and you didn't need to see his face to feel his undoubtedly dark glare burning holes into your back.

"Aw, let them be," Wind came to your rescue. He looked at you and winked. "He's just upset because he had to listen to some couple flirt last night."

"Wind."

"Sorry, we," he amended sassily. "had to listen to some couple flirt last night."

"...Was it good?" You asked with mounting terror.

"Not at all, but we're not allowed to talk about that."

"For good reason," Legend hissed. "It was the worst thing I've had the displeasure of hearing, and I've listened to Wind snoring."

"Hey!"

"We're here," Time announced, and you'd never been more grateful for a subject change.

The heavy wooden doors creaked open, the rusty metal plaque on the right one glinting softly in the sunlight. Squinting with all your might, you managed to make the scrawled lettering out to be "Town Archive", which was about as accurate as you could get here.

The group shuffled in, and you were instantaneously impressed at the impossibly large bookshelves lining every veritable wall, closing in on the lectern in the center in ordered rows. "Wow," you said in awe, deftly release of Four to peruse the massive directory on said lecture. Your hands glided the leather cover of the colossal book, only pausing to sneeze when you opened it and a cloud of dust shot forth. Most of the boys had begun to scatter, chatting individually about what they hoped to find—though you were sorely tempted to scream that libraries didn't have Lizalfo talons when you heard Wild make that particular quip—but Twilight, Time, and Four remained silently by the entrance.

"How many trees you reckon it takes to make a book that big?" Twilight asked in a hushed tone.

"More than one," was Four's response. "A big one... or four small ones."

Your eye twitched at the nonsensical exchange, but you forced yourself to refocus on the directory.

"...Why are you like this?" Time sounded as exasperated as you felt.

Your pointer finger traced down the 'D' list, eyes scanning over every title with fading interest. You had already searched over ten pages, and not a single thing had stood out among the dizzying selection. It was beginning to seem that you would never find an answer to the conundrum, which was as painful as it was maddening. As a medic, it was your sworn duty to help the sick, even more when the sick person in question was your dear friend, and you were determined to not add to your list of regrets.

Until you flipped to a random page, seconds from burying your head in your hands, and something finally caught your eye.

"I found it!"

"Found what?" Four appeared at your side almost instantaneously, flanked by Time and Twilight.

You tapped the scrawled title with a blossoming grin. "'The Complete Guide To Hyrule's Races'!"

"That sounds promising," Time's expression was curious. "Do you think you can find it?"

"I can try," you shut the book, the pages thudding together with a thud of finality. "The directory said it should be on the second shelf in one of the back rows, so I'll start there."

The heroes bade you good luck as you headed off in search of your prize. Twilight grunted softly as soon as your cape fluttered from view. "Ya know yer only diggin' yourself into a bigger hole, right?"

"Huh?" Four's face was the picture of confusion, but Twilight knew it was all a ruse.

"Don't play dumb," he chided. "Ya haven't given it any thought?"

Four's gaze flicked between the two heroes, and Time, who looked as though he had seen enough, motioned them to one of the quieter corners of the library. "Now," the older hero's gaze felt like a piercing beam. "What's this all about?"

Twilight snorted, tossing his head in Four's direction. "Wouldn't be about nothin' if he would man up already."

Time stared at the smaller hero, clearly demanding an answer with the sheer force of his mind alone. Too bad that Four didn't feel like passing out details of his (nonexistent) sex life like they were candy.

"It's no one's business, old man," he crossed his arms over his chest, expression a nigh-perfect recreation of Legend's resting-bitch face. "And that's final."

"It's only goin' to get worse," Twilight ran a hand down his face, eyes turned to the ceiling in a plea for divine intervention. "An' it's that medic's business, too."

"What about (Y/n)?" Time's gaze hardened protectively; the old man cared for you and it showed clearer than day on his scarred face. "Four."

"Don't," the smithy fixed him with an unusually harsh glare. Time's working eye narrowed; something was amiss and he was determined to find it. "You're not part of this, none of you are."

"So ya admit it's a problem?" Twilight interjected.

"No!" Four snapped. He sighed, running a hand through his hair. "I need more time, you can't expect me to..."

"We aren't expecting you to do anything," Time said slowly, looking equal parts ready to throttle someone and offer one of them a hug, just as Twilight muttered under his breath: "'cept what's right for ya and that medic."

Four bristled. "It's not like that."

"It could be."

"I can't— you have no idea about any of this," the smithy's face was growing redder and redder, irises flashing blue, as he growled. "S-So stay out of it!"

"Oh, we have some idea," Twilight shot back. "Don't tell me ya've forgotten our conversation?"

Four's expression twisted in discomfort, but it was quickly replaced by annoyance. "How could I forget?" he snarked. "You know they're not—"

A memory of last night flashed in his mind's eye, but Four dismissed it; there was no way you saw him... like that, he wanted to scream. You were just too nice for your own good. He tried not to think of the way your gaze roved his body when he undressed, chalking it up to misplaced curiosity. How could you want him when there were so many other options, as much as it pained him to think it?

"—it's fine, I'm going outside."

Twilight opened his mouth to fire back, only pausing when Time laid a hand on the rancher's shoulder, shaking his head with a somewhat defeated expression. Twilight huffed, but held his tongue.

Until cheery footsteps broke through the silence and your head peeked around a nearby bookshelf. You grinning vibrantly when you caught sight of them, and it was the most beautiful thing Four had seen in his life. "There you are, I can't believe you all disappeared on me like that!"

"Sorry," Four said rather sheepishly. His gaze snapped to the crumpled sheet of paper in your right hand. "What's that?"

You shrugged, holding it out for him to examine. Twilight shifted closer, subtly sniffing with a look of barely disguised interest. "I thought notes from a scholar would be more useful than a textbook, is all."

"It was a textbook?" Time questioned, and you made a face.

"Unfortunately," you grimaced harder. "I've seen enough of those things to last a few lifetimes."

"We can tell," Twilight observed, tipping his head to the barely legible symbols covering the page. Four wrinkled his nose, slightly miffed at the unfamiliar language. "Can ya read it?"

"A bit," you answered. "It's written in ancient Hylian."

"Ancient, huh?" Twilight leveled a knowing look in Four's direction. The shorter hero growled and shoved at his chest, and the rancher surrendered with a guffaw. "Ah'right, ah'right!"

"Do I even want to know?" you deadpanned.

Crash!

"Fuck!" came Wild's distinct screech, and you nearly tripped over yourself rushing to the source of the noise. Four moved to follow, but halted when Time's hand sealed around his wrist.

"Four."

"Let me go."

"What is it, exactly, that you are afraid of?"

Four's eyes narrowed. "I'm not afraid."

"Ya are," Twilight joined the fray with a jaded frown.

Four tried yanking his arm away, but Time's grip held true. "What do you know? It's not like you—"

"Wrong," the rancher interrupted tersely. "'M trying to help ya because I am the only one."

Four froze. Surely he couldn't be implying...

"Don't give me that look," Twilight drew closer, towering over the smithy with a distinct wildness in his usually calm eyes. "Ya never thought ta' question why I leave fer a week every six months, or why I don't go off alone with yer little medic?"

"Y-You don't like (Y/n)?" Four was at a complete loss for words as the realization hit him harder than one of Wild's bombs. "How—"

"This ain't about me," Twilight's tone took on a distinct snarl that had Four wondering how he hadn't connected the dots in the first place. "It's about you and yer problem with makin' things easy on yerself. Ya think distance will make everythin' fine an' dandy? I can promise ya, it won't."

"But—"

"You can only deny yer nature for so long," there was a distinct sliver of regret in the older hero's tone that made Four wonder what exactly the rancher had experienced to look that way. "An' once it's gone, you're never going to get it back."

"Guys!"

All heads turned to you, and Four felt the inexplicable urge to gather you in his arms and never let go. Until he noticed your panicked expression and lack of paper. "Come on," you urged hurriedly. "We've got to get the hell out of here."

"What happened?" asked Time, beating Four by a millisecond.

Your expression turned grave. "Lizalfos,"

"In the library?!"

Sigh. He'll get it eventually. ALSO Twi, you dog!

Just as a disclaimer, I've never played OOT so I have no idea if the term 'town archive' even exists in their world, but I'm going to pretend it does for the sake of the smut.

[marzipanandminutiae]

With The Haunting of Hill House as someone who has only read the Wikipedia for both, how did one plot derive from the other? At all? They don't feel or sound the same or even have the same characters. They seem entirely disparate works with the same title. Which is SO sad

Similarities include:

there's a house called Hill House that's haunted

there are characters named Nell, Theo, Luke, and Hugh

Theo is, or is heavily implied to be, a lesbian

Nell dies at the end

that's. about it, as far as I can tell

honestly the show looks like it might have had merit on its own if it didn't claim to be HoHH, but as an adaptation, it's totally off-base. I'm told it leans heavily on themes of biological family Coming First or whatever, when the original is the complete opposite- every family in it is dysfunctional and unsupportive of each other, and indeed, many critics have talked at length about Shirley Jackson exposing the horror of domestic/familial situations that are often glorified or romanticized in literature. I know for a fact that he's altered the isolation that made Nell in particular such a compelling character and a prime target for the house- Oh No Her Siblings Don't Answer Her Texts?!?!?! whatever shall she do!!!! yeah in the original she had one sister, brother-in-law, and niece in a mutual hate-hate relationship, and a mother she sort of passively murdered, and that was IT. not answering messages a few times but loving her most of her life? yawn

like the Hyman siblings seem nice- I know someone who knows them -so I'm glad they got the money from the show. I hope this enables Sadie Damascus to do many more cons and maybe give another fan some of her mother's ashes. but like. come on, dude. that ain't The Haunting of Hill House at all

it also sisterzoned two characters with sexual tension in the original, which. I really don't see the point? since it left one of them gay, the change can't have been to appease homophobic audiences. point being, if the Dorian And Basil Are Siblings adaptation happens, I Can't Believe It's Not The Haunting of Hill House started the trend

[yellosnacc]

What about uniima/Fueem’s religion causes them to see Neal as a sloman?

This ask is probably a reaction to this post where I share some of Fueems thoughts if anyone wants to read it.

Here's a post about small aspect of the wider ueemic religion here.

But shrimply! Fueem's regional variant of this faith is pretty close to the one considered the "base" ueemic type. They are a follower of the heads and their rules and are knowledgeable in the ways of soul right.

In more recent years (like 30) the Eye has declared a soul right for every alien (any sophont found in the world so far) with some distinct rules for each but still similar to how uniima souls work.

Because this addition to the base religion is pretty recent, there are many versions of how this works for different people-species but nothing is fully agreed on. There's also the problem of most uniima never seeing a live sloman or knowing their biology/reproduction. So lot of the existing interpretations are based on accounts of a few ueema. Now if those guys weren't good drawers, someone else had to visually interpret their interpretation and welp. The farther from the Heads (the religion central) the weirder looking and weirder working other aliens are in art and literature.

So a recap. When a uniima dies (according to ueema belief) they release a soul. This soul in some way (depending on subculture etc.) gets attached to a person who was close to the dead person. At a point, the soul will jump to a baby at the right point in its development. This baby can be the new child of the soul wearer or just close to them. Usually, the wearer has to meet the "body" at least once. There are a lot more rules and stuff but this is long enough!

So anyway, this is probably what Fueem imagines happened to Neal spiritually.

Making Neal have the soul of once-sloman and thus being one too.

[gremlinmodetweeker]

okay okay, it's a lil silly but hear me out konig + phantom of the opera au

man's got it all; need to cover his face, obsessive tendencies, and the need to be a secretive lil (big) weirdo *chef's kiss*

NO NO NO HOLD ON YOU'RE COOKIN. NOT SILLY AT ALL.

Now look here, I dunno if you know this, but I am a sucker for classic literature. One of my top three favourite books of all time is Frankenstein by Mary Shelly. That woman ate when she wrote that book and I will listen to nothing else. I also really want to write an essay about how Frankenstein is Mary Shelly discussing the inherent horror of motherhood in those times and how the lack of a mother figure shapes an individual. I think it's an extremely layered book, but I like to see the parenthood lens of the book.

Now now now, this is about Phantom of the Opera. I do know a bit about the original phantom, and I don't like to think König or reader dies in the end (just personally, I can't write a tragic ending. I really need a happy ending, not for the reader, but because I need a happy ending). So, let me introduce the idea that this is a version where the phantom wins.

This is one where the phantom was fucking right and actually, freak of nature as he is, maybe he had a point!!! Maybe, reader shouldn't be dating someone twice their age. Maybe, though König is a bit older for sure, he's actually not that old and a more appropriate age. Albeit, though now recovered, König still suffered a case of leprosy after being exposed during a war. He considers himself hideous, but maybe reader would be able to look past his sickness?

Now, is König appropriate as a lover? Probably not. He's obsessive, jealous, and a borderline stalker. He's determined to kill off the man who's trying to seduce her ('How dare you try and take my little songbird away from me!!!') and will do anything to keep reader to himself. However, he's also saving reader from a far worse fate with someone worse than him.

Reader is enchanted by Makarov of course, but König knows better and is determined to show her the light. He desperately wants to just talk to her and explain everything to her, but at this point he's committed to what he's doing and social anxiety makes him unable to just knock on her door and talk to her like a regular person.

Once again, like every incredible story in the English language, if you guys just talked everything would be fine but nobody knows how to be an adult.

Anyways, König loves reader dearly. Watching her perform makes his heart ache. His one saving grace is a beautiful voice he uses to enchant her. If his face is nothing but sickness, let him sing to his little songbird and help her connection to music. He'll do what he can to cling to any connections he has to her. He's desperate to hold her, and he'll do whatever he needs to to get to her.

IMPORTANT EDIT:

König with the phantom mask but he has too long red ribbons coming out the bottom of the eyes and the rest of his face is hidden under a dark hood. Consider it.

[plusvanity]

tbh if no one had ever pointed out varg and marie being frauds i would have never noticed and would have genuinely thought they had a good life. it just seems so good to me. i am not that observant though

Don't feel bad for not observing this. They actually are very good at mentaining their image as the perfect nuclear family.

I would have a lot more to say about how they make things 'work', but I have no reason (gain) for why I should explain more.

I remember her telling women that they should give birth at home while she gave birth to all of her children in the hospital. There are so many examples of them playing this 'guru' role in illuminating people with their idealistic lifestyle. This is all a lie, of course, they mirror one another's behaviour, beliefs, etc.

Another thing that I would like to point out is that many people believe that Varg truly stands for what he says (politically, socially, economically, etc), but this is all false. Narcissists have a very blurred sense of self and little to no personality (this is found in the literature, not invented by me, look it up). He doesn't have a set of rules and morals that he goes by like most people do, he doesn't belong to any category of beliefs, he just associates himself with what he thinks will make him look stronger, wiser, more intelligent, etc, because he was a raging inferiority complex.

When he was much younger, pre Burzum-era, he wanted to be punk. Why? Because anarchists were 'cool and fearless' back then. This was the trend. He never cared about anything about their movement. Then, he shifted to extreme right because it was even 'cooler' in his mind. As an insecure boy, he wanted to be perceived as tough so he created this 'Varg image' (a false self) and everything that came after just so he could feel better about himself.

People believe that he is so strongly opinionated, but there are countless times in which it shows that he's not. He's empty inside. He doesn't hold value to anything.

If tomorrow an even 'cooler' political inclination/way of living and thinking appears, he will ditch all of his previous beliefs to be perceived as an even 'stronger' person. It's just so obvious.

I remember him talking about the pandemic one time feeling sorry for a man who lost his child because of the virus. That man was married to another man and had a profile picture with them, the kid and the LGBT flag behind them. People made memes about this as if 'Varg doesn't know who's he's talking with, wtf??'. Not he's well aware of who he's talking with, but he doesn't care. He does this on purpose to stir up reactions, and this is nothing new really. He talks about himself in the third person in tags and tweets. Why? Because he believes to be a celebrity.

As long as he will be given attention, he will continue to be just the way he is.

Marie is part of his brand, of course. She represents the 'mother bear'. She literally agrees that her oldest daughter (15-16) should be given to a mature man and be married with kids at this young age. They BOTH talk obsessively about fertility in young females (children), and they talk like this about their own kids. Do people still want to swear up and down that she is a good mother?

It's so easy to fool people nowadays by pretending that your life is perfect with a few pictures in nature and a bunch of seemingly 'wise' advices.

Varg is an open book, so easy to read. Whoever thinks that he is (or was ever) mysterious and intelligent is just as intelligent as him.

[tarufai]

[laurapetrie]

My heart is a locket and your face is in it.

Edna St. Vincent Millay, July 1911

[thunderboltfire]

I have a lot of complicated feelings when it comes to what Neflix has done with the Witcher, but my probably least favourite is the line of argumentation that originated during shitstorms related to the first and second season that I was unlucky to witness.

It boils down to "Netflix's reinterpretation and vision is valid, because the Witcher books are not written to be slavic. The overwhelming Slavic aestetic is CDPR's interpretation, and the setting in the original books is universally European, as there are references to Arthurian mythos and celtic languages" And I'm not sure where this argument originated and whether it's parroting Sapkowski's own words or a common stance of people who haven't considered the underlying themes of the books series. Because while it's true that there are a lot of western european influences in the Witcher, it's still Central/Eastern European to the bone, and at its core, the lack of understanding of this topic is what makes the Netflix series inauthentic in my eyes.

The slavicness of the Witcher goes deeper than the aestetics, mannerisms, vodka and sour cucumbers. Deeper than Zoltan wrapping his sword with leopard pelt, like he was a hussar. Deeper than the Redanian queen Hedvig and her white eagle on the red field.

What Witcher is actually about? It's a story about destiny, sure. It's a sword-and-sorcery style, antiheroic deconstruction of a fairy tale, too, and it's a weird mix of many culture's influences.

But it's also a story about mundane evil and mundane good. If You think about most dark, gritty problems the world of Witcher faces, it's xenophobia and discrimination, insularism and superstition. Deep-seated fear of the unknown, the powerlessness of common people in the face of danger, war, poverty and hunger. It's what makes people spit over their left shoulder when they see a witcher, it's what makes them distrust their neighbor, clinging to anything they deem safe and known. It's their misfortune and pent-up anger that make them seek scapegoats and be mindlessly, mundanely cruel to the ones weaker than themselves.

There are of course evil wizards, complicated conspiracies and crowned heads, yes. But much of the destruction and depravity is rooted in everyday mundane cycle of violence and misery. The worst monsters in the series are not those killed with a silver sword, but with steel. it's hard to explain but it's the same sort of motiveless, mundane evil that still persist in our poorer regions, born out of generations-long poverty and misery. The behaviour of peasants in Witcher, and the distrust towards authority including kings and monarchs didn't come from nowhere.

On the other hand, among those same, desperately poor people, there is always someone who will share their meal with a traveller, who will risk their safety pulling a wounded stranger off the road into safety. Inconditional kindness among inconditional hate. Most of Geralt's friends try to be decent people in the horrible world. This sort of contrasting mentalities in the recently war-ridden world is intimately familiar to Eastern and Cetral Europe.

But it doesn't end here. Nilfgaard is also a uniquely Central/Eastern European threat. It's a combination of the Third Reich in its aestetics and its sense of superiority and the Stalinist USSR with its personality cult, vast territory and huge army, and as such it's instantly recognisable by anybody whose country was unlucky enough to be caught in-between those two forces. Nilfgaard implements total war and looks upon the northerners with contempt, conscripts the conquered people forcibly, denying them the right of their own identity. It may seem familiar and relevant to many opressed people, but it's in its essence the processing of the trauma of the WW2 and subsequent occupation.

My favourite case are the nonhumans, because their treatment is in a sense a reminder of our worst traits and the worst sins in our history - the regional antisemitism and/or xenophobia, violence, local pogroms. But at the very same time, the dilemma of Scoia'Tael, their impossible choice between maintaining their identity, a small semblance of freedom and their survival, them hiding in the forests, even the fact that they are generally deemed bandits, it all touches the very traumatic parts of specifically Polish history, such as January Uprising, Warsaw Uprising, Ghetto Uprising, the underground resistance in WW2 and the subsequent complicated problem of the Cursed Soldiers all at once. They are the 'other' to the general population, but their underlying struggle is also intimately known to us.

The slavic monsters are an aestetic choice, yes, but I think they are also a reflection of our local, private sins. These are our own, insular boogeymen, fears made flesh. They reproduce due to horrors of the war or they are an unprovoked misfortune that descends from nowhere and whose appearance amplifies the local injustices.

I'm not talking about many, many tiny references that exist in the books, these are just the most blatant examples that come to mind. Anyway, the thing is, whether Sapkowski has intended it or not, Witcher is slavic and it's Polish because it contains social commentary. Many aspects of its worldbuilding reflect our traumas and our national sins. It's not exclusively Polish in its influences and philosophical motifs of course, but it's obvious it doesn't exist in a vacuum.

And it seems to me that the inherently Eastern European aspects of Witcher are what was immediately rewritten in the series. It seems to me that the subtler underlying conflicts were reshaped to be centered around servitude, class and gender disparity, and Nilfgaard is more of a fanatic terrorist state than an imposing, totalitarian empire. A lot of complexity seems to be abandoned in lieu of usual high-fantasy wordbuilding. It's especially weird to me because it was completely unnecessary. The Witcher books didn't need to be adjusted to speak about relevant problems - they already did it! The problem of acceptance and discrimination is a very prevalent theme throughout the story! They are many strong female characters too, and they are well written. Honestly I don't know if I should find it insulting towards their viewers that they thought it won't be understood as it was and has to be somehow reshaped to fit the american perpective, because the current problems are very much discussed in there and Sapkowski is not subtle in showing that genocide and discrimination is evil. Heck, anyone who has read the ending knows how tragic it makes the whole story.

It also seems quite disrespectful, because they've basically taken a well-established piece of our domestic literature and popular culture and decided that the social commentary in it is not relevant. It is as if all it referenced was just not important enough and they decided to use it as an opportunity to talk about the problems they consider important. And don't get me wrong, I'm not forcing anyone to write about Central European problems and traumas, I'm just confused that they've taken the piece of art already containing such a perspective on the popular and relevant problem and they just... disregarded it, because it wasn't their exact perspective on said problem.

And I think this homogenisation, maybe even from a certain point of view you could say it's worldview sanitisation is a problem, because it's really ironic, isn't it? To talk about inclusivity in a story which among other problems is about being different, and in the same time to get rid of motifs, themes and references because they are foreign? Because if something presents a different perspective it suddenly is less desirable?

There was a lot of talking about the showrunners travelling to Poland to understand the Witcher's slavic spirit and how to convey it. I don't think they really meant it beyond the most superficial, paper-thin facade.

[notmoreflippingelves]

[thebirdandhersong]

MY DEARS did I tell you I'm presenting a paper at my department's annual conference!!!!!!

[cosmicwar]

[envolvenuances]

This one gives a general summary of the importance of women in the fight for the idependence of Mozambique

And for a more present context

[dazais-guardian-angel]

gotta say that if bram stoker is trying to convince me that Renfield isn't actually future Johnathan from another timeline, then he isn't doing a very good job at it

[fightingwithallreality]

Yi Ma (2008) written and illustrated by Mao Xiao