#anti james potter is also canon james potter if you have reading comprehension

[danadiadea]

"Petty school grudge" is not even fun to discuss anymore (just forgive your SAers and bullies, guys! just get over your PTSD like... stop processing your taumatic experiences in a way that isn't perfectly convenient for everyone around, idk. if you are triggered – have you tried not being triggered?), but I LOVE when people paint James' death as a heroic one!

James Potter made Pettigrew a secret keeper out of his arrogance and sheer disrespect for his "friend", when he literally could've had Albus Dumbledore or just be the keeper himself and sit at home. Did I say "sit at home"? Of course he sneaked to hang out with Sirius, while not only his and his family's lives were in danger, but his wife also had an infant to take care of! So Dumbledore had to take the cloak so Jamie isn't running to his Siri. The cloak that could've hidden them from death. No escape routes or additional protection was installed in their house as well, so Lily blocked the door with A CHAIR instead of actually saving their lives. "Lily, run, I'll hold him off"? Where is she supposed to run, you moron? And the time Voldemort needs to cast an Avada on a wandless man is not really enough to "hold him off", yk. Even Voldy found it funny.

Dying because of your own pomposity when your killer literally came to your house and you don't have a choice to save yourself (the one Lily had, cause at least someone was willing to ACT on her behalf) is not heroic in any way at all. And no, being "pro muggle born" when you grew up in the "pro muggle born" family is not his achievement. James had EVERYTHING to be a good person, but was a bully so full of himself it became the reason Peter had the opportunity to betray him in the first płace. Peter, who always "sticked to the biggest bullies" according to Sirius, chosen as a keeper because he wasn't important enough to interest Voldemort. What a hero James was.

I cannot believe people let Snape get the high ground.

How do people casually overlook the fact that Snape spent six entire years of his life telling a kid—who never even got the chance to know his father—that said father was an arrogant douchebag? Like, how do people think that behavior is normal?

Snape, a grown man, spent years trying to convince a grieving, orphaned child that his dead father—who literally died protecting his family—was a terrible person. No compassion for a man who gave his life for his wife and son. No sympathy for a kid who grew up abused, unloved, and completely alone, only learning about his parents through stories told by others.

Instead, Snape chose to rehash his teenage rivalry with James Potter by bullying his son. Imagine being so petty that you can’t move past your high school grudges, even when the other person has been dead for over a decade.

Even the coldest, most detached person would muster some respect for a man who died fighting for good. But Snape? No. He chose to sit on his high horse—ignoring the fact that he was once a Death Eater who only changed sides when his own personal interests were threatened—and still had the audacity to act morally superior to James.

James Potter died a hero. Snape, on the other hand, spent his life tormenting the child of the woman he claimed to love—while refusing to let go of a teenage rivalry and weaponizing it against a traumatized, grieving boy.

I cannot get over how utterly selfish and cruel that is. Snape had no empathy for the dead and no sympathy for the living. And people still try to defend him? Seriously?

[adh-james-version]

you're argument is so fucking stupid because a) nobody who understands the characters and ships jily is pro-snape. Snape is as disgusting as regulus and actual intelligent people know that and b) the marauders fandom is not by nature anti-canon or whatever the fuck you said. it is derived from canon and has been thriving since PoA came out. and no, not everyone ships wolfstar and in fact tonnes of people don't because it's NOT CANON. and the new fans who clearly haven't even read the books and dont understand the characters at all are shitting all over remus and sirius routinely with atrocious, disgusting characterisations like the one in atyd.

you new fans are ruining the fandom by turning beloved characters (the ACTUAL marauders and Lily - not the fascists you freaks simp for) into pathetic OCs.

if you don't like this canon get the fuck out of this fandom and find a different one to ruin. james potter would never date a blood supremacist and youre a fucking idiot for acting like he would

Okay so first things first , if your gonna be such a horrible person be brave enough to say it with your chest 😂😂 posting its as anonymous is embarrassing and shows that you have no dignity😂😂 at least I spoke my opinions without shame😘😘

Two, you are proving my point of people taking it too serious 😂😂

Three, I have read the books, multiple times as have most of the fandom, and I have said before that I believe that not reading the books and then hoping into the fandom is weird, so let’s not be ignorant, if ur gonna come for me do your research babygirl😘😘

Four, I said in my post that people hating on other people’s head canons is messed up, thank you for proving my point once again love 😘😘😘

Five, there is no such thing as ruining the fandom which again I said in my og post once again do your research 🫶🏾🫶🏾🫶🏾

Six, you are also furthering my point by hating on characterization 🫶🏾😍

Seven, the new fans are evolving the fandom, which i said, in my previous post (starting to wonder if your reading comprehension is up to par🧐)

Eight, I’m not gonna argue abt hcs w a person who has such strong hateful opinions. Invest in therapy💋

And lastly don’t play with me, calling me a “fucking idiot” just shows your lack of vocabulary and your ignorance so if you want to have a civilized conversation my inbox is always open if you want to try again.

Have a good day🫶🏾🫶🏾

[audreyprovostya]

People have strong opinions on YA romance. Mostly negative. I fervently disagree. 

The past few years have experienced a boom in young adult fiction, from the Harry Potter series to the infamous Twilight books. Parents have watched slack-jawed as their teens devoured them. It’s no surprise that literary critics and concerned adults alike have taken to scouring these works for an answer as to why their teens seem so enthralled, and they were not impressed with what they found. Ever since then, the young adult genre has been castigated as the willful dumbing-down of an entire generation, and a stigma revolves around the works, their authors, and their readers. But this prejudice is well-rooted in ageism and sexism, and largely ignores to attempt any critical analyses on the quality of the writing in favor of panning something simply because it is not a “literary classic”.  

It is most useful to talk about young adult romance, which seems to be under fire the most, but first, it is important to define what the term “young adult” refers to precisely. Mary Ann Badavi in her article, “No, The Fault in Our Stars Is Not Young-Adult Fiction’s Savior,” argues that YA describes books written about teenagers. At the same time, Ruth Graham in her controversial article titled, “Against YA” defines it as books written for teenagers. Graham argues books for teens should not be read by adults and thus should not be considered good literature, while Badavi argues that books written about teenagers can be read by adults and have merit. The term “YA” is incredibly broad and flexible, even flimsy, and is more of a marketing term than a literary categorization. Curtis Sittenfield wrote about his book, which he intended to be for adults but was marketed as a young adult novel, “You write the book you want to write, and then publishing has its way with it.” The lines between adult and young adult are incredibly blurred, and publishers are not thinking what is appropriate for the book more than they are thinking of how best to get it into the most hands. Sometimes that means teens will buy and appreciate some books more, even if they were supposed to be for adults, or the other way around. James Patterson’s Maximum ride series, as Margo Rabb, author of Cures for Heartbreak, describes in her New York Times article, “I’m Y.A., and I’m O.K,” was first categorized as a young adult novel series until sales went down, and then was placed in an all adult section in which the sales picked back up again. The story revolves around a group of winged teenagers, and features typical young adult themes such as romance and puberty. But why are adults interested in books “for kids?” In her article, “The Adult Lessons of YA Fiction,” senior associate editor for The Atlantic Julie Beck writes, 

I read [YA Fiction] because the stories are good and meaningful to me now...What I do mean to say is that things made for teenagers are not inherently less worthy of our time, attention, and critical consideration, simply because they’re for and about teens… The process of personhood might slow with age, but it doesn’t stop.

Thusly, the argument against reading young adult literature as an adult because it is intended for “children” doesn’t hold much water. 

Some adults have accepted this, and have added young adult literature to their collection of books. However, they are often ashamed for having an interest in them as if they are juvenile, especially romance for young adults. YA romance novels are often painted as a means of wish fulfilment and escapism for boy-crazy teenage girls that is empty of any intelligent or challenging content. It would be comparable to a marshmallow; sweet, but ultimately only made of sugar and air. On the other side, some women critique from a feminist point of view; that girls should not be taught that they can only find worth in a relationship with a boy. Tara Isabella Burton wrote in her New Statesman article, “‘Ghost Stories’: The ubiquitous anti-feminism of young adult romances,” that YA romance couples lack real depth, and are thus unrealistic. “Her relationships are not predicated on the idea that two people, with all their flaws, might discover themselves operating in emotional synchronicity. Rather, Mary is loved because she is the best…” But it is not that simple. 

YA Romance Novels are especially important for their female readers as sources of inspiration and strength. In an article for the Washington Post, Alyssa Rosenberg wrote, “Romance novels are a tonic, a form of reassurance that someone is interested in ordinary women’s inner lives and is rooting for us to resolve our conflicts about work, love, and what we deserve from our relationships.” And yet some critics argue that this form of escapism is merely just that; and not truly literature. Rosenberg follows up with, “It is a poor strategy, though, to hector women to read classics without acknowledging that the canon — which provides plenty of fantasy fulfillment for men and attention to their inner lives — can be an unnerving reminder of a past that for women is not always past.” Rosenberg is not the only one with this sentiment. Blogger Chelsea Codren wrote in her blog post on “the hub,” run by the Young Adult Library Services Association 

...YA romance novels are the only places where teenage girls can get frank discussions of sex, gender, and sexuality… they are giving them a place where it is safe to have girly emotions...Teenage girls don’t need a lecture; they need every ounce of support we can give them in a world that tells them their emotions are stupid and their thoughts don’t matter.

Perhaps instead of internalizing ridiculous romantic ideals as many critics believe, girls are discovering lessons about the complexities of life. A reason why anyone reads in the first place. 

Though at the same time, Graham disagrees that escapism is good. She states in her article that, “At its heart, YA aims to be pleasurable.” But escapism is the whole point of reading and writing; the author intentionally works to immerse the reader in their world, to pull the reader into the narrative enough to believe the characters are real so that their readers are emotionally invested. Otherwise, they would get bored with the story and stop reading. The experience wouldn’t be pleasurable. Critics may mention that some literature, especially romance, works as escapism and is thus not literature. There is a difference between creating complete escapism; an alternate reality where the main character has no personality and is really a pair of shoes for the readers to walk in, and a character that has a personality but is also relatable on a human level. Rosenburg writes of Graham’s article, 

Graham might have had a more defensible case and made a more effective plea against what the film critic A.O. Scott called the “cultural devaluation of maturity,” if her piece made a comprehensive case against readers who seek out a certain kind of easy enjoyment and moral satisfaction no matter where they find it.

Reading can be pleasurable, but not in an empty way. It is pleasurable because stories offer questions, insights, and hopes that we fervently search for each time we pick up a book. This is what we look for in stories. While many teens and adults alike are willing to entertain books like Fifty Shades of Grey or Twilight as pure fun, at the end of the day, the books that stay with them the most are the ones that have the emotional depth, human experience, and connection they, like all readers, are searching for. 

So why not just turn to “the greats” like the Great Gatsby, the Picture of Dorian Gray, or The Catcher in the Rye rather than sift through the ever-expanding mountain of YA books? Critics of YA would rather teens seek out these examples of literature instead. Graham writes again, “But if they are substituting maudlin teen dramas for the complexity of great adult literature, then they are missing something.” That is completely true. There is merit in reading the classics. It’s important to broaden your horizons and take in good literature from all around you. Most of my AP Literature books went unread when I was younger, but now, every time I see the copies in the box in my cellar, I always make a note to myself to finally pick them up and read them. I want to be able to experience them at my own pace, on my own time, because I too am searching for the human experience found in reading quality works of literature, like everybody else, including teenagers.