#anne of cleaves

[doorknobhater]

i have six personalities. here they are:

[punk-o-ween]

i just finished watching six (through animatics) and oh my fucking god that musical IS SO GOOD

i learned so much abt them ?! especially katherine howard, poor girl! ofc she had to be the one to blame when in reality she was only 13-19 (approx) !! lord have MERCY 😞 anyway, i love anne of cleaves and anne boleyn sm, we love you besties 🫶

i dont even think the fandom is alive anymore (or accepts new fans but...) the musical was great and id totally reccomend! this is the playlist ive watched (linked below) and i HIGHLY reccomend watching my faves (the anne boleyn one and the jane seymour one)

i might draw boleyn soon 😋😋😋

[darkwitchingflower]

Me in an exam, doing chores doing anything for that matter* :No

My brain: '-'

Me: no

My brain: :)

Me: dont. You. Dare

My brain: Hans Holbein goes around the vorld painting all of ze b e a u t i f u l gorls

[anneliesengland]

[kkecreads]

The Tudors in Love by Sarah Gristwood

The Tudors in Love by Sarah Gristwood

Published: December 13, 2022 St. Martin’s Press Pages: 571 Genre: Biographies of Royalty KKECReads Rating: ⭐️⭐️⭐️⭐️⭐️ I received a copy of this book for free, and I leave my review voluntarily. Sarah Gristwood is the author of several bestselling Tudor histories. Sarah regularly appears on television and radio talking about royal and historical affairs in series such as Secrets of the…

[sinligh]

A siren, a female being made of liquid stars and all the unnecessary wars. A beauty that is overpowered by rejection an overdose of a vitamin…

Well, I’m begged for redemption only i lure to self destruction.

I sing about broken promises that lasts a lifetime and fears that grow as you do... grow viscously, and as big as the void an emotionally absent parent can leave behind in you.

I’m one year closer to my mid twenties It took me a life time to realize It’s not love that I’ve been starved from

It’s the comfort of feeling seen, without dressing myself up with all the glamorous words that I weighed myself down with since i was a child

forced to communicate; only to please. Now I sing, and it’s out of tune but I seduce and I ruin.

I was loved growing up, i felt so even when no one ever gave me a definition to what love really means.

Maybe they didn’t even know it was missing.

I felt indestructible so I kept stripping my love from misconceptions; only to be left with suffering

Now I know better. It’s either leaving or being left and both in a way are synonyms of love.

the residual of that love is almost nonexistent among the memories that resemble a never ending internal bleeding.

That being said, tragedies stands out more and i use them like bookmarks to my memories.

So i love; and i leave.

I cut into myself with my own teeth dissecting the pieces with my tongue knowing very well how much it will hurt me to taste something that i don’t recognize…

I spend most of my hours dwelling on all the parts of me that make me a duplication of my mother

hypocritically i pack them in the carry on bag that’s always open on my bedroom floor

So ready to leave; just like my father. he emptied more of me in his bags every weekend for business trips

Carving unintentional hollows and leaving them for my mother to fill.

I thought he was the one sacrificing himself, until I noticed that alot of my missing pieces are still under his bed.

Mama doesn’t like it when I point out where my father went wrong she loves him too much, and i .. i reflect that love; by leaving

I know they did their best molding me into a human that knows how to survive, but that’s all I know now.

I don’t understand affection, nor how to accept it in my body.

Not even when I crave it; i suspect it’s because I’m too full of myself and if I feel this way… why would I expect anyone to carve themselves out to fit me in ?

Anyway, I don’t know how to ask women for acceptance and men can’t stand me cause I don’t flatter them

Love sounds like a curse to me.

What if I loved for all the wrong reasons?

my body understands the mechanisms to create another life from love, but i don’t.

I fear that the taste of motherhood will resemble that of a defense mechanism.

•••

•Quotes: Alexander Pushkin/George Eliot/ Leo Tolstoy/ Chris Cleave/Clarice Lispector/ Anne Carson/ Kiki Nicole/ Richard Siken/ Lidia Yuknavitch/ Sylvia Plath/ Franz Kafka

•Original context: Sinligh

•Art reference:

1. A young beauty reclining on a bed By Enjolras Delphin. 2. Details of John William Godward's: Eurypyle (1921) 3. Details of John William Godward's: Eurypyle(1921) 4. Painting by Roberto Ferri (details). 5. The Table (1971-80) Antonio Lopez Garcia. 6. Painting by Alex Venezia. 7. Narzissin by Josef Fischnaller. 8. Painting by Valeria Duca. 9. Painting by Ricky Mujica.

[doueverwonder]

actually i'm not surprised Mary's love life was a mess, and Elizabeth never got married. Like babes their dad went through six wives, and Elizabeth wouldn't but Mary absolutely remembered all the bullshit considering she was already 11 when he divorced Cathrine of Aragon.

[beannary]

asdfghjkl i feel like such a fool I just realized that today at work I kept on mixing up Anne of cleaves and Jane Seymour like a complete loser who does that I need to get my act together

[todo-morira]

Personally if your Six cast is mostly white or white passing queens I think you should recast

[ynwa4eva]

Brituals what does minger mean ?😭

[doorknobhater]

Story Idea:

Modern version of King Henry and his six wives

HEAVILY inspired by SIX the Musical

But no songs, cuz WRITING a fic like a musical is hard

Plenty roasting sessions from Anne Boelyn and Catherine Howard, of course

[laurapetrie]

- Anne Boleyn's Sleeve by Juliana Gray, "The End"

However understandable the impulse to universalise Anne Boleyn’s story might be, these attempts mostly fail to account for the very historic specificity of her narrative. How can we account for a woman who apparently had so much sexual and emotional appeal she had the power to cleave King and country from the control of the Catholic Church, yet whose downfall was so complete she became the first English queen consort to face the executioner? The story of Anne Boleyn is about dissenting from and challenging the dominant cultural norms; her example is that of the woman who created herself and, for a brief time, through her brilliance and her beauty and her will, maintained herself in a society in which quasi-independent female empowerment and agency were relatively unknown. She continues to speak to us as an avatar of feminine power. - Stephanie Russo, The Afterlife of Anne Boleyn: Representations of Anne Boleyn in Fiction and on the Screen

[letters-unsending]

55 — Hero with randomized powers.

/////

"What's the power for today?"

"Mind control of anyone named Anne," Hero answered, peering up from his book to squint at Villain. After a stretch of time, he sighed and looked back down, flicking his pen in his hand. "Well, that knocks one name off the list, I suppose."

"Did you get to use it?" Villain seated himself on the corner of Hero's desk.

"No," Hero frowned, "I'm not one for mind control and I don't know any of criminals named Anne."

"That's fair." Villain picked at a piece of paper and Hero swatted his hand away. "How about yesterday? What power did you have?"

In a rare show of emotion, a smile slid across Hero's lips. He appeared nigh triumphant as he set his pen down and closed his book, the pages exhaling spectacular plume of dust.

"I'm afraid I can't tell you," Hero smirked, tossing the volume in his desk drawer.

Villain raised a brow. "What power of yours could possibly be worth keeping a secret?"

"Well, that's rude," Hero snarked with little heat, pulling his jacket off the back of his chair and shrugging it on, "I've had plenty of useful powers."

"Like what?" Villain hopped off the desk to follow Hero out of his office.

"I solved one kidnapping case by talking to pigeons." Hero wound through the maze of shelves, all of which were rife with leaflets of spells, powerful trinkets, and other items heroes collected on their excursions. Many of the lower shelves expelled their contents onto the floor and Hero deftly stepped over them.

"Yeah, I think I remember that one. Wasn't that a few years back though?" Villain tripped over a tree sculpture that lashed out of silver root. Without turning his head, Hero yanked him upright by the shoulder and steered him around another corner. "Haven't you done anything new?"

"I don't get out much, if you couldn't tell." Hero groused. "I'm in the archives every time you take it upon yourself to visit."

"They don't lock you down here."

"They might as well." They approached an elevator, which began to groan down to their level after Hero pushed the up button.

"You still have your training. You know, the good ol' right hook." Villain shifted his weight back on his heels and mimed a punch. "That's more effective than half the powers out there right now. Plus, I know you keep up on conditioning." He winked, squeezing Hero's arm for good measure.

Hero stiffened and gave Villain a dull look. Upon opening, the elevator's light cleaved through the dust-laden dark of the archive, and Villain would've thrown a hand over his eyes, if not for Hero dragging him forward by the attached elbow.

The doors squealed closed.

Distorted jazz sounded from the speakers.

"You still haven't told me."

"Look, I would, but it's classified."

"Classified?" Villain echoed. "What could you have possibly gotten yourself into?"

Yellow light poured from the elevators grime-filmed lights and caught the round rims of Hero's glasses.

"I don't tell you all my powers. I can't." Hero shoved his hands in his pockets. "I have a deal with Superhero. If I have a particularly good day, I go straight to her."

"You know Superhero? You?" Villain looked over Hero, at his jacket that crinkled each time he moved, at the cowed curve of his posture.

Hero avoided Villain's gaze, tracking their progress in the scuffed number window.

"My power follows a bell curve. Most days land in the middle, where all the mundane things are, but occasionally, a day will be good. Real good." Hero turned toward Villain, a gleam lighting his eyes. "And I've been feeling pretty lucky recently."

The elevator had been going up for far too long.

"[Hero], what did you do yesterday?"

The door opened, revealing the immaculate foyer of the Hero Organization. A rush of people filed into the elevator, but Villain couldn't seem to move as Hero slipped away, hands still in his pockets. Hero turned back as the doors began to close.

"You should probably go back to your Organization. I've heard they're going to need a lot of help down there."

[reverie-quotes]

He knew Mara had always thought love made things complicated, but Peter knew love was a sharp blade slicing an apple: cleaved—both blade and bond.

— Anne Michaels, Held

[in-kyblogs]

“But his eyes, they remained the same, staring wildly at the ceiling, the irises dancing from side to side, even as the flesh cleaved to the bones, became nothing but a parchment wrapping for the bones, the clothes hollow and limp over the skeleton that remained. Finally the irises rolled to the top of his head, and the whites of his eyes went dim.

The thing lay still.

A great mass of wavy blond hair, a coat, a pair of gleaming boots; and this horror that had been Lestat, and I staring helplessly at it.”

Interview with the Vampire,

Anne Rice

[wonder-worker]

There are few English queens—indeed, few women in history—whose biographies have been as contested as that of Anne Boleyn. Even to this day, almost nothing about Anne Boleyn is agreed upon by either historians or novelists, from facts such as the year of her birth (1501 or 1507/08), to more vexed questions about how to interpret her reign and her downfall. Given that almost everything about the life, reign and death of Anne Boleyn has become a matter for debate, it is not surprising that she has become a favourite subject of novelists, poets, playwrights and, more recently, producers of movies, television shows and popular musicals. The elasticity of her story provides great imaginative latitude for historical fiction. Anne Boleyn’s life is just remote enough to render it a colourful subject for historical fiction, yet its very familiarity renders it strangely comforting. Even a schoolchild can remember the old rhyme"divorced-beheaded-died-divorced beheaded- survived” and place Anne Boleyn in her position as the scandalous second wife. Beyond the fact of her coronation and execution, however, the real Anne Boleyn remains lost to history, unable to inscribe any kind of coherent narrative on the bare facts of her life. Indeed, there is so much room for interpretative latitude that her story can lapse into incoherence: so various are the Anne Boleyns that we have access to, it is hard to ascertain what actually happened and what it means. Even Shakespeare seems confused: his Anne Boleyn is variously a devout and modest woman, and a sexual temptress who engages in double-entendre-laden banter. The constructedness of history and the impact of the subjective vantage point of the teller on our understanding of historical truth are rarely as transparent as when any attempt is made to impose coherent meaning on the story of Anne Boleyn.

Some have attributed the ongoing fascination of Anne Boleyn, and the temptation to reinscribe her into literature and culture, to the elemental or universal qualities of her narrative. In her account of the development of the mythology of Anne Boleyn, for example, Susan Bordo argues that the

story of her rise and fall is as elementally satisfying – and scriptwise, not very different from – a Lifetime movie: a long-suffering, postmenopausal wife; an unfaithful husband and a clandestine affair with a younger, sexier woman; a moment of glory for the mistress; then lust turned to loathing, plotting, and murder as the cycle comes full circle.

The recognisable, satisfying cycle that Bordo recognises here, quite apart from its purported resemblance to a Lifetime movie, perhaps accounts for the deluge of Tudor fiction that began to appear from the mid-twentieth century onwards. Other scholars have affirmed the seemingly timeless nature of the story of Boleyn’s rise and fall, with Julie Crane seeing a link between that narrative and medieval morality plays. She writes that the story of Anne Boleyn seems to be “a confirmation that the wheel of fortune was still turning, capriciously, dealing out favours as carelessly as the condemned Queen had been accused of doing.” However understandable the impulse to universalise Boleyn’s story might be, these attempts mostly fail to account for the very historic specificity of Boleyn’s narrative. Part of Boleyn’s appeal is surely her specific place within the court of Henry VIII and the rupture with the Catholic Church that Henry’s desire to take her as his wife precipitated. How can we account for a woman who apparently had so much sexual and emotional appeal she had the power to cleave King and country from the control of the Catholic Church, yet whose downfall was so complete she became the first English queen consort to face the executioner? What is clear is that no matter how the details of Anne Boleyn’s life and death are interpreted, whether she is the universal “other woman” or the powerless Tudor queen consort caught up in the web of a psychopathic, tyrannical king, she continues to speak to us as an avatar of feminine power and sexuality. Indeed, one might apply Joseph Roach’s concept of “it” to Anne: she has “the power of apparently effortless embodiment of contradictory qualities simultaneously: strength and vulnerability, innocence and experience, and singularity and typicality among them.” It is perhaps that ability to hold together contradictory meanings that has ensured the durability of her image as historical actor and celebrity. Anne can simultaneously be femme fatale and victim, predator and prey, religious reformer and cynic.

...Since her execution on 19 May 1536, Anne’s life and body has been a site upon which competing religious, political and sexual ideologies have been inscribed—a practice that continues to this day. In her 2017 Reith Lectures, Hilary Mantel, author of the award-winning historical novels Wolf Hall (2009), Bring Up the Bodies (2012) and The Mirror and the Light (2020), in which Anne plays a key role, addressed the ongoing fascination of the story of Anne Boleyn, arguing that “you can tell the story and tell it. Put it through hundreds of iterations. But still, there seems to be a piece of the puzzle missing.” The story of the rise and fall of Anne Boleyn, Mantel suggests, is so fundamentally strange and compelling that it resists inscription, even as it has been constantly revisited and reinterpreted by historian and novelist alike. That sense that there is something to the story that remains undiscovered, Mantel argues, accounts for the seemingly endless drive to provide the “answer” to the problem of Anne Boleyn. Of course, we can also account for the persistence of interest in Anne to the evergreen interest in the lives of royalty. However, Anne’s appeal does seem to transcend the appeal generated by other queens, and even other Henrician queens. Katherine Howard, for example, has not elicited the amount of interest as Anne Boleyn, even though they met the same grizzly end. As Sarah Gristwood has recently argued, too, the sixteenth century boasts no shortage of queens who were able to exercise political power in a variety of ways, but none has had anywhere near the posthumous glamour or appeal of Anne Boleyn. The image of a woman raised high, only to be (literally) cut down, is one that has had uneasy resonance across centuries, and there is something specific about the precise iteration of Anne’s rise and fall that continues to speak to contemporary audiences. In an age that purports to be socially progressive, yet still exhibits an obvious unease with the relationship of women to power, especially when that story is refracted through sex, Anne’s story seems to take on ever more symbolic weight.

-Stephanie Russo, The Afterlife of Anne Boleyn: Representations of Anne Boleyn in Fiction and on the Screen