#bandello

[italian-lit-tournament]

Italian literature tournament - First round.

Propaganda in support of the authors is accepted, you can write it both in the tag if reblog the poll (explaining maybe that is propaganda and you want to see posted) or in the comments. Every few days it will be recollected and posted here under the cut.

[betriii]

MC somehow too excited with the gangster life....like the youngsters say, we just LIT 🔥

Just my poor attempt redrawing the second slide picture

[norcester-archive]

birth of a daughter, misfortune of a wife

[klavieras]

"It- it's either you get out alive and I don't, or we both die. Which of those is better? Look me in the eyes and tell me, which?" That scorching, determined gaze.

And I looked her in the eyes as I said it. "Both of us. It's always both of us."

Jamie Bandello

[fard-rock-blog]

Ayassot - Santimone - Corini - Bandello | Live in Lugano

Etichetta: Flying Robert Music Tracce: 8 – Durata: 63:11 Genere: Jazz Sito: Bandcamp  Voto: 8/10 Il sassofonista piemontese Andrea Ayassot nel 2020 si è unito al Eat The Worm Trio (compagine nata nell’ambiente dello storico collettivo El Gallo Rojo che vede Alfonso Santimone al piano, Giulio Corini al contrabbasso e Nelide Bandello alla batteria) per una serie di concerti di cui uno, tenuto in…

[olderthannetfic]

I mean... I don't tend to count anything that isn't from the modern fandom traditions. But if we're stretching the point, then yes, it's based on an existing tale. I think almost all of Shakespeare's plays are.

From Wikipedia:

The plot is based on an Italian tale written by Matteo Bandello and translated into verse as The Tragical History of Romeus and Juliet by Arthur Brooke in 1562 and retold in prose in Palace of Pleasure by William Painter in 1567. Shakespeare borrowed heavily from both but expanded the plot by developing a number of supporting characters, in particular Mercutio and Paris.

[zippocreed501]

Edward G Robinson as Caesar Enrico "Rico" Bandello 

Little Caesar (1931)

[cantsayidont]

THE PENGUIN Season 1 (2024), Take 2: Contrary to my initial expectations, THE PENGUIN shies away from the overtly campy derangement of GOTHAM to remain squarely in the gritty crime drama arena. Whether this represents an improvement is harder to say. Above all, this show wants desperately to be taken seriously: It looks sort of like GOODFELLAS, and it's packed cheek-to-jowl with powerhouse acting (with Cristin Milioti the standout as Sofia Falcone) and Heavy Drama. However, it always remains far too artificial to be convincing.

The biggest problem is its central character, here called Oswald Cobb (canonically, the Penguin's last name is "Cobblepot"), a low-ranking mob lieutenant, mama's boy, and frustrated schlemiel trying to make his big play after years of hauling garbage. Colin Farrell tries hard, but it's impossible to overlook the fat suit and veritable mountain of prosthetics, and one can't help wondering how it made sense to transform a handsome middle-aged Irishman so extensively when New York is filled with real guys (and character actors) who look and sound exactly like this already. Even if you can suspend disbelief on his appearance, his character never gels: Just as JOKER ripped off MEAN STREETS and TAXI DRIVER, Ozz Cobb is cobbled together (if you'll pardon the expression) from bits and pieces of old gangster movies and old gangster movie actors — James Cagney's Cody Jarrett (from WHITE HEAT) and Edward G. Robinson as Rico Bandello (in LITTLE CAESAR) being the most obvious — and the scripts' ambivalence about how the audience should feel about him (culminating in a vicious "shock" ending for the show's only Black character, played by Rhenzy Feliz) comes across as muddled rather than compelling, since Farrell can't muster sufficient magnetism to pull all the jumbled pieces together.

Sofia Falcone is potentially more interesting because her challenges are more inherently compelling than Ozz's: Horribly betrayed by her own family to cover up some of her father's more unsavory crimes, publicly vilified, and medically tortured for years, Sofia decides she has little alternative but to lean into acting the crazy bitch people already assume her to be. However, the show constantly subordinates Sofia's story to Ozz's, leaving her plotlines (like her weird BDSM relationship with her former doctor/torturer Julian Marsh (Theo Rossi)) so underdeveloped that they're almost incoherent. What Sofia actually wants seems to change from scene to scene, so all Milioti can do is strut around in increasingly cunty outfits while visibly wondering what her motivation is supposed to be.

The heaviness of the material is not to the show's credit because the structure is just not solid enough to support it, even when the script doesn't pull you of the story with self-conscious metatextual jokes (like Ozz's dead brothers' names being "Jack" and "Benny") or comics Easter eggs (like one of Sofia's fellow Arkham patients being the Magpie, a very minor post-Crisis Batman villain), and the awareness that the show is really just a placeholder for the forthcoming theatrical sequel to THE BATMAN (2022) makes it feel like a fairly pointless exercise. Also, Clancy Brown and Shohreh Aghdashloo are completely wasted in secondary villain roles as Salvatore and Nadia Maroni, which is hard to forgive. CONTAINS LESBIANS? Not a one. VERDICT: Elaborate but hard to enjoy, and what was the point, again?

[jadeee]

Vendetta Ch. 11: Breaking News

The Valentinos make the front page and Martin finds new evidence.

📰 read chapters 1 - 10 here!

Warnings: angst, swearing, & murder

Word Count: 2.7k

divider by @saradika ©️

Questions burned in her belly but she started with, "What are your guidelines?"

"The obvious one is about the trial. As you know, we can't say anything."

"No questions about the previous trial or my history with Floyd." Nicky said.

MJ nodded as she waited for more yet the silence lingered for a few seconds.

"Are there any other guidelines before we continue?"

You shook your head and Nicky said "Nope."

"Well," she grabbed her notepad "I wasn't going to ask about the trial or Floyd Capo."

Nicky's brows pinched together "What's your angle?"

"There is no angle, only the facts and the facts are that you're people." She saw how he mulled over her words "You two aren't some spectacle. What you're going through shouldn't be seen as entertainment."

After a moment of silence, he turned to you "You're right about her."

She smiled at the thought of being spoken of highly despite not being present. MJ picked up her pen and looked at you both with eager eyes. "How did the two of you meet?"

You chuckled and he smiled bashfully.

As the minutes flew by, you melted into your chairs. The hard lines of his brows began to soften when he talked about the first time he saw you. The walls you'd built over the last few weeks crumbled slowly at MJ's warm presence. Her hand cradled her face while you shared memories of moving into your new home.

"That reminds me of the turkey in the yard."

"Oh," he brought a hand up "absolute chaos."

"You should've seen your face."

"I was terrified!"

MJ chuckled, "For Stella?"

"And the turkey." He said.

Your shared laughter filled the room and she closed her notebook.

"Thank you again for giving me this opportunity."

You nodded "Of course."

She stood up, "I can send you the final draft before it's printed."

"No need, we trust you." He stood and you joined his side.

"Should we call a cab for you?" 

"No, actually. I'm staying for a friend."

"Well, enjoy the party."

Nicky offered her his hand, "Don't work too hard."

"That's the only way I know how." She shook his hand.

While you wrapped up your interview, Rocky had his own important business to tend to. He ducked into a space away from the noise and reached for the phone on the counter.

Wisps of smoke danced in front of Martin's face. He studied the various notes sprawled out on his desk with squinted eyes. The phone rang with a shrill which disturbed his peace.

He exhaled the smoke and picked it up, "This is Martin."

"It's Rocky Bandello."

"Mr. Bandello, how can I help you?"

"It's the other way around this time."

Martin leaned back in his chair as Rocky continued.

"Chris told me you need some dirt on Floyd."

"I wouldn't call it that but –"

"Anyway, listen," Rocky paused "I used to know a guy who knew someone close to Floyd. There was talk of a kid who flipped on him."

His eyes widened "Was this kid... wait a second," Martin flipped through his notes "Maurizio Botticelli?"

"Hell if I know."

He shook his head "Well, what happened to him?"

"That's the thing. Nobody knows for sure but people were saying his body was dumped at a construction site."

"When was this?"

"About ten years ago."

He grabbed his pen then scribbled on a nearby sheet of paper.

"Ever heard of Gramercy Park?"

His hugged the phone in the crook of his neck, "I'm afraid I haven't."

"That's where the kid's buried, if he's even there. I wouldn't put it past Floyd though ..."

The pen teetered between his fingertips, "How old was he?"

"I think he was thirteen. Somewhere around there."

He tightened his grip on the phone "Right," he said before adding to his chicken scratch.

"It may not be true, but I thought it could help."

"I'll look into it."

Just when Martin pulled the phone away, Rocky spoke again. His voice was distant but Martin caught it.

"What was that?"

"I said, be honest with me. What are the odds looking like?"

"It's not about the cards, it's about how we play 'em."

Even though Rocky was silent on the other end, Martin swore he heard him smile.

"Enjoy the party, Mr. Bandello."

"I think the party's over for me, kid."

"Get home safely then."

"You too."

Martin found the number for the Parks and Rec Department of New York City but realized it wasn't any good when he remembered the time difference. He glanced at his clock on the wall and shook his head. 

"It's nearly ten at night there." 

His chest rose and deflated as he leaned back into his chair. A hand rested on his cheek, tired eyes looked over the pile of papers on his desk. The sound of the clock filled his dull office. Tick-tock. Floyd Capo. Tick-tock. Intent to murder. 

"I can't use that. Double jeopardy..." he smacked his teeth then looked up at the ceiling.

Tick-tock, tick-tock. The kid, he thought, only 13. He picked up the phone and dialed a number. 

"Martin Alonso calling for Arturo Ricci."

He glanced over his notes until the gruff familiar voice answered the phone.

"What do you want?"

"To know where Floyd dumped the body of a thirteen year old."

There was a brief pause.

"I guess I'll just call one of the other guys and they'll get a better deal. They already flipped on you too."

Martin moved the phone a few inches away from his face then grinned when he heard the man plead.

"Wait a second!"

He held the phone to his ear.

"Look, I didn't do it. Okay?"

"So, why are we still talking?"

He spoke in a hushed tone "Because I know who did. If I tell you, can you get me out of here? For good."

He pinched the bridge of his nose, "I'll work something out."

"I'll see you tomorrow at 9. Until then, keep your mouth shut and your head down."

Arturo hung up without another word. Martin placed the phone back onto the receiver and loosened his tie.

Martin practically rose before the sun did. He'd only had a cup of coffee when he called New York City's Parks and Rec Department. His request was anything but simple: a list of parks built a decade ago along with all construction companies who'd worked on these projects including employees.

When the person on the other line politely refused, due to "lack of manpower", Martin reminded him about the weight of this case.

"How do you think New York parents are gonna feel when they find out lil' Johnny and Suzie are swinging over a dead man?"

The line went silent.

"I want park names, employee's numbers, and time cards or you'll be unemployed before lunch. Is that what you want, Thomas?"

There was a brief silence, "What boroughs do you need, sir?"

"All of them."

"Should I also write down the construction company and their contact?" Thomas asked jokingly with a sneer.

"It's like you read my mind, Thomas." He set the phone back onto the receiver.

He finished getting dressed before heading over to see his most compliant informant. The phone rang as he straightened his tie. He rested it on his shoulder while smoothing down his shirt.

"Hello?"

"Yes, is this Martin Alonso?"

He straightened his posture, "Yes, who is this?"

"This is Jonathan Morris with the New York City Parks and Rec Daprtment. I'm the manager and I've just been informed of your rather detailed demands."

"You understand how important it is then that I have those documents." He shared an annoyed glance with himself in the mirror.

"It's unlikely we'll be able to complete your request. Especially by the end of the day."

"I see... Mr. Morris, can you clarify something for me?"

"Sure." He said.

"You want to abandon your due diligence as a citizen of this country and let a criminal out on the streets? Again?" He chuckled in disbelief.  

Jonathan cleared his throat "No, sir. I simply-- all I'm saying is--"

"Don't explain it to me," he said "explain it to the cops when they get there."

"Sir!" He spoke with an urgency, "I'm not helping a felon by denying you these documents. I'm simply saying, they may not be in your hands by the end of today." His voice cracked in several places, along with his pride. 

"You have one day to get me those documents or you will be charged with obstruction of justice,"

He nodded his head even though Martin couldn't see it.

"Have Thomas call me at my office once it's done. I already gave him the number."

"Yes, sir." Jonathan said quietly.

The damp air felt too familiar in Martin's nostrils. He signed the clipboard and the guards greeted him by name. They checked his belongings before sending him on his way.

He unbuttoned his jacket then sat down at the table. The quiet room was eerily comforting in that moment. Where men his age would be atuned to the honeyed voices of their wives, he felt an odd peace hearing the distant clamor of the prisoners. The iron bars of the door clanged and he came to. He opened his eyes to look at Arturo who was being guided to the seat by a guard.

"No black eye or bruises? Good." He nodded approvingly as the guard cuffed Arturo to the table.

Arturo chuckled "Aw, you worried about me?"

The guard walked off to leave the two alone.

"You're my golden ticket." He leaned forward "So, talk."

"Not until I get my deal," he tapped the table "like we said."

He clenched his jaw "What do you want?"

"I want to get out of here."

"And go where?" Martin asked with a hint of hopelessness.

"Anywhere he wouldn't find me." He averted his gaze and thought of the different possibilities. "What about somewhere tropical? Like the Bahamas?"

"So they could kill you with a coconut in your hand?" He chuckled.

The two were silent for a moment before he spoke again. "Alright," he scribbled onto a paper and slid it toward Arturo "How about this?"

He read: Arkansas. New identity. NO family, friends, or girls.

"But," he pulled the paper back "that's only if what you say is true and it helps me get this guy for good."

Arturo gestured to his pen. He handed it to him and watched him write on the page.

"This is all I know," he set the pen down "I didn't know the guy who did it but I saw him once. He still works for Floyd and he's back in New York."

Martin held the paper up, which read: Umberto Gavassi, along with an address. "Maurizio Botticelli," he set the paper down "You don't have any other details? No dates? Times?"

Arturo shook his head "But you can get me out right?"

Martin stopped himself from saying otherwise and squinted at the half-truth he was about to tell, "Yes."

Arturo smiled "Thank God."

I wouldn't do that just yet, Martin thought. "Do you know if Floyd did this with anyone else? Any other kids?"

Arturo shrugged, "I don't know but he usually got kids to work for 'em. Hell, some of us started when we were Maurizio's age."

"Who?" Martin held his pen in his hand as Arturo listed off names. "How old were you, Arturo?"

"9, 1o." Arturo shook his head "I should've been jumping rope but I was jumping fences. I actually remeber seeing Umberto back then too. Some kid got caught on a job we did but he got out somehow. We saw him the next day where we met up... Umberto came in and pulled him out of the room and we never saw him again... his name was," Arturo snapped his fingers "Cliff Wallace!" 

Martin added the name to the list yet Arturo kept speaking. 

"Yeah, he was the same age as me then. One of the guys always said that Umberto probably pushed him off a cliff." Arturo scratched at his incoming beard as tears stung in his eyes.

"How fitting." Martin deadpanned, "Cliff have any siblings? You know his parents?"

Arturo shook his head "No. I don't know but that other kid Maurizio had a sister who followed us almost everday for months after he went missing."

Martin flicked his eyes up at him and Arturo said, "Sabine."

"Arturo, if this is true and I find evidence. You can pack that suitcase." 

Martin closed his notebook with a certain finality then placed it in his briefcase.

Arturo clenched his jaw and nodded. He tried not to show his excitement but the buried smile, peeked through. 

Martin barely set his foot into the office when his assistant, Agnes, stood up.

"Sir, you have those papers from the parks and rec department. I put them on your desk."

"Thank you," he sighed as he sat down in front of the mountain of papers. Agnes pulled up a chair and helped him review each paper. The sun was starting to set when they finally made a crack in the case.

"Gramercy Park?" A man said over the phone "No wonder you couldn't find it, they renamed it in the middle of construction! It's Peace Grove now."

"That makes sense," Martin sat back in his seat and gestured for Agnes to stop sifting through papers. She sat back and listened to the conversation. "Listen, Robert, I have some questions for you about when you worked there. At the site."

"Who are you again? A lawyer, right?"

"Yes, my name is Martin Alonso and I'm a lawyer in California. I'm working on a high profile case and your answers can help me put someone away for a long time."

"Oh," Robert went silent "that's a lot of responsibility. I don't want to be involved in any mess."

"No, no, Robert. You'd be a huge help!"

"Mhm... what'd this guy do anyway?"

Martin sighed "We think he killed a kid and buried him at Peace Grove."

"Dear Lord..." Robert went quiet. "Alright, what do you need to know?"

Martin gestured for Agnes to take notes "Do you remember seeing anything strange while working on the site?"

"Let's see... that was about ten years ago..."

"Anything will help, Robert. Even if you heard or saw anything or anyone strange."

"Now that you mention it, I remeber coming back to the site one day and the first layer of concrete was already down for the slide. We had everything prepped the night before but we hadn't laid the foundation yet. I just thought it was the new guy, he was always going 100 miles a minute."

"So the foundation was laid but your crew didn't put it there," Agnes wrote down what Martin summarized. "Did you see anything else that was strange?"

"Yeah, in that concrete there was some pieces of what looked like fabric. Just little drops. Y'know the stuff we had was so cheap I thought maybe it came from our uniforms or somethin'. I didn't know it was a kid... Lord have mercy." Robert said in a hushed tone.

"Robert?"

"Hm?"

"Do you know anything else?"

"I'm sorry, that's it."

"Is Peace Grove still open to the public?"

"Oh, yeah! Those children go there everyday. It's not in a good part of the neighborhood but anything to keep them off the streets."

A sadness flashed across Martin's face at how it didn't work out for Maurizio or Cliff. "Did you see this with any other construction sites you worked on?"

"Look, I barely remeber what I wore yesterday. You'd have to ask my wife!" He chuckled then returned to his somber tone "Listen, I'm sorry but if you need me to speak in court. I can. Anything for that poor child."

"Thank you, Robert."

Martin placed the phone back onto the receiver. 

"Write up a warrant to break ground on Peace Grove in New York and call NYPD," he stood to his feet "they need to search for Maurizio's body."

Agnes noticed the sadness that remained in his eyes. "I didn't want to say this earlier with the case going on but your wife called."

Martin froze in his tracks and Agnes shifted to look at his face. 

"She wanted to see how you were doing."

"NYPD will want to check where the slides are. That's where his body should be." He left the room without saying another word.

Author's Note: This was long overdue but thank you to everyone who's been patient with me. I know I keep saying it but I'm honestly glad that people are still reading this - sometimes I think it's lost traction because of all my hiatuses and fads and whatnot but I'm glad that's not the case. Alright, I'm done being sappy 🥀 I hope you enjoy the next chapter just as much, if not more! < Previous Chapter | Next Chapter >

[italian-lit-tournament]

The participating authors for the Italian Lit(erature) Tournament: the general list + a google form to add other proposals

Podesti Francesco - Torquato Tasso reading Jerusalem Delivered to the Estensi court

The start of the Italian Lit(erature) Tournament (first edition) is getting closer, but first I want to post the general list of the authors partecipants.

The principal issue is that every literary canon is constantly changing, with more critical studies over the years. I've thought about it, read and searched, and the solution I found has two parts:

I will take the principal authors from this list, which in turn is based from the studies of Gianfranco Contini and Asor Rosa. The list is too long and many names are only chronicles and essayists, so I'll chose the principal ones, trying to balance between north/south Italy and male/female authors (taking into account that many authors that we study are men). As you will see below under the cut, the list is already pretty long, doing some math the challenge will be 2/3 months long.

Still, I recognise that this isn't 100% unbiased and fair, so I opened a free and quick google form when you can add a maximum of two authors that you don't see in the list. This considerable limit is to avoid having too many names - if in some answers I see more than 2 names, I'll take into account only the first 2 listed.

IMPORTANT! 👇

After much thoughts, I also chose to don't include living authors or authors death only recently (before January 2023). The reason is simply to avoid potential issues in the community, like bashing between fandom or admirers of some specific author, or going too far like offending some people near the author still alive or recently deceased. Maybe if this tournament will end well, a second edition could be made next year and maybe with the addition of living authors! (I'm already thinking to do an italian or european cinema tournament in the future but this is still in the draft).

Under the cut, you will find the list of the authors already part of the challenge, name-surname with the surname in alphabetical order. If you don't see a name that you want to see, use the form to add it!

edit: I added the ones from the surbey so far, all in italics. There are names that have been sent but already on the list.

Dante Alighieri

Sibilla Aleramo

Vittorio Alfieri

Cecco Angiolieri

Pietro Aretino

Ludovico Ariosto

Matteo Bandello

Anna Banti

Giambattista Basile

Giorgio Bassani

Cesare Beccaria

Maria Bellonci

Pietro Bembo

Matteo Maria Boiardo

Giovanni Boccaccio

Giordano Bruno

Dino Buzzati

Italo Calvino

Andrea Camilleri

Giosuè Carducci

Guido Cavalcanti

Carlo Collodi

Vittoria Colonna

Gabriele D'Annunzio

Giacomo da Lentini

Caterina da Siena

Alba de Céspedes

Cielo (Ciullo) d'Alcamo

Edoardo De Filippo

Federico de Roberto

Grazia Deledda

Umberto Eco

Beppe Fenoglio

Marsilio Ficino

Dario Fo

Ugo Foscolo

Veronica Franco

Carlo Emilio Gadda

Natalia Ginzburg

Carlo Goldoni

Antonio Gramsci

Francesco Guicciardini

Tommaso Landolfi

Giacomo Leopardi

Carlo Levi

Primo Levi

Carla Lonzi

Niccolò Machiavelli

Alessandro Manzoni

Giovanbattista Marino

Giovanni Meli

Pietro Metastasio

Eugenio Montale

Elsa Morante

Alberto Moravia

Anna Maria Ortese

Giuseppe Parini

Goffredo Parise

Giovanni Pascoli

Pier Paolo Pasolini

Cesare Pavese

Francesco Petrarca

Luigi Pirandello

Angelo Poliziano

Luigi Pulci

Salvator Quasimodo

Gianni Rodari

Lalla Romano

Amelia Rosselli

Umberto Saba

Emilio Salgari

Jacopo Sannazaro

Goliarda Sapienza

Leonardo Sciascia

Matilde Serao

Gaspara Stampa

Mario Rigoni Stern

Italo Svevo

Antonio Tabucchi

Torquato Tasso

Giuseppe Tomasi di Lampedusa

Pier Vittorio Tondelli

Giovanni Verga

Giambattista Vico

Renata Viganò

Elio Vittorini

Giuseppe Ungaretti

[safehavenhqs]

Un nuevo habitante llega al pueblo con el nombre de ASTER BANDELLO. Sus datos confirman que su profesión es EMPLEADO EN LA CARNICERÍA Y PESCADERÍA LAND & SEA, tiene 31 AÑOS y es originario de NEVADA, ESTADOS UNIDOS. Algunas personas lo confunden con DREW STARKEY.

¡Bienvenido a Safe Haven, KITTY! Tienes 48 horas para enviar la cuenta de tu personaje. Esperamos que tu estadía en el pueblo sea de tu agrado.

información del usuario:

apodo: kitty

pronombres: ella/suya

país/zona horaria: gmt-3

trigger warnings: abuso, acoso, incesto, trabajo sexual

rostro reservado: drew starkey

cupo reservado: 15.2

información del personaje:

nombre: aster bandello

pronombres: él/suyo

fecha de nacimiento: 12/06/1993 + (31 años).

lugar de nacimiento: nevada, estados unidos.

grupo al que pertenece: forastero.

profesión: empleado en carnicería y pescadería land & sea

perfil

habilidades: siempre fue un fanático de los deportes, de verlos y de jugarlos. practicó basket durante varios años, cuando llegó la adultez lo reemplazó por el gimnasio. tuvo algún que otro trabajo pesado.

enfermedades: no.

puntos de habilidad:

velocidad: 3

agilidad: 0

resistencia: 2

ingenio: 0

sigilo: 1

ataque: 3

defensa: 2

fuerza: 4

residencia:

nació en el estado de nevada y allí vivió toda su vida, llega a safe haven para la fecha de inauguración pactada por el proyecto así que recién está amigandose con este nuevo pueblo que ahora tendrá que llamar hogar.

curiosidades:

tw: fallecimiento. la vida nunca parece transcurrir con delicadeza para ASTER BANDELLO que experimenta su primer tragedia al año de edad cuando mamá fallece y pasa a quedar a cargo de su tía. habían sido desde siempre una familia humilde pero un sólo adulto al cuidado de cuatro niños era tarea casi imposible, aún así su tía se encargó de que amor y risas no faltasen. junto a sus primos, todos varones, aster se forma como un intento de buen hombre — o hace lo posible por aquello demostrarle a su tía, fallando siempre. picardía corre por las venas y protagoniza bromas, altercados, travesuras. aún así no se siente un hombre con buena suerte.

hubieron momentos en que la vida pareció querer demostrarle que sí lo era y recuerda haberse sentido el tipo más suertudo del mundo dos o tres veces desde que nació. ésta última era la más importante de todas, el amor toca su puerta y algo que concebía impensado y hasta lejano lo transforma por completo. a los veintiocho años se casa con YOLANDA y no tiene recuerdo de haber sentido felicidad tan enorme antes. corría el dos mil veinte y el matrimonio se muda a un pequeño apartamento en el mismo estado que los vio crecer y aunque él finalmente se esfuerza y se dedica a algo en su vida, no es suficiente para que ésto perdure. la convivencia es intensa y el dinero no alcanza así que ella un día arma sus valijas y se borra de su vida. unos días más tarde le explica la situación por mensaje y no la ve más.

la intención siempre fue abandonar nevada lo antes posible y dejar esa vida atrás pero economía lo imposibilita, el proyecto phoenix se le presenta recién un año más tarde y decide que aplicar es lo correcto, sin creerselo realmente cuando le devuelven positiva del otro lado.

personas de interés

1: nico bandello, 33 años, primo. con quien creció y forjó relación más cercana de los tres. lucas es quien le muestra sobre el proyecto y quien lo impulsa a postularse porque él mismo también lo hace, y aunque no compartirán vivienda, la idea de comenzar su nueva vida con primo como vecino le alivia un poco los nervios.

2: jayden bandello, 11 años, ahijado. lucas fue el primero de los cuatro jóvenes en convertirse en padre y como separación con la madre sucedió antes del embarazo, los bandello vieron crecer a jaden desde su nacimiento porque en ese mismo hogar dormía los días que a lucas le tocaba hacerse cargo del niño, dos o tres por semana. su cercanía con primo lo convierte en padrino del pequeño y aunque al principio temía, forjar relación con el bebé terminó siendo bastante fácil. hoy lo ama con locura, por eso adora que haya aceptado mudarse a safe haven con su padre y así, continuar teniéndolo cerca.

[✔] al enviar este formulario doy permiso a la administración de utilizar a mi personaje de la forma que consideren adecuada en el desarrollo de la historia grupal. para más información al respecto leer la normativa.

[anghraine]

#I used to follow some people on my old account that were really annoying about this#just snooty about how people bringing in Shakespeare et al were obviously arguing in bad faith#because fic is only really fic when it's done in the fandom context and based on commercial works#I did not refollow them here (via @chocolatepot)

Good for you tbh!

Honestly, there is something almost awe-inspiring about the snobbish takes on why fanfic is some uniquely degraded form artistically and morally alongside these absolutely incoherent arguments that constantly shift the terms of the argument because the original terms are so irrelevant to so much of human literature including the most broadly respected writer in the English language. And you get these "refutations" of fans referencing him and his contemporaries that mostly just reveal how little literary snobs know about early modern British literary culture.

I saw one "rebuttal" the other day (not to this post) that was like, oh, you can't bring up writers re-purposing pre-existing stories if they were writing before the Statute of Anne. And it's like ... oh, I didn't realize that absolute morality and value in art in 2024 is derived from early eighteenth-century British legal codes. Or they'll talk about fanfic propping up lowbrow, commercial, popular art and not high art like Shakespeare et al were working with and motivated by, which is almost comically divorced from reality.

[Rambling under the cut]

As a sidenote, I've noticed that a lot of snobbish types trying to scrape up some pretext for excluding Shakespeare from their already inconsistent argument tend to point to his more remote and highly respected sources such as Ovid. Apparently, drawing characters/plots/settings from Ovid is totally different morally and artistically from drawing on material from your own era, as fanfic writers typically do.

I don't quite get the artistic reasoning there (if the problem with fanfic ~artistically~ is entirely reducible to using stuff from other people rather than coming up with your own, I'm unsure why it matters who you're borrowing from). But in any case, the result is certain kinds of snobs conceptualizing Romeo and Juliet more in terms of Pyramus and Thisbe in The Metamorphoses than The Tragicall Historye of Romeus and Juliet (1562), conceptualizing King Lear in terms of old myths rather than the contemporary play The True Chronicle History of King Leir (first performed in the 1590s), and so on.

It even affects conversation about other playwrights of the time—for instance, the main play I was talking about in my original tags was John Webster's masterpiece The Duchess of Malfi, its basic material drawn from William Painter's 1567 English translation of Belleforest's French translation of Matteo Bandello's likely somewhat fictionalized Italian novelle version of the fairly obscure historical details surrounding the murder of Giovanna d'Aragona, Duchess of Amalfi. Webster wasn't seriously engaging with history, he was like "cool story ... I bet I could make it even more fucked up and also poke at our narratives around class and gender."

I feel like there's a certain kind of contemporary literary snob who is just really reluctant to even consider the degree to which contemporary concepts of who gets to tell which stories, who owns stories, etc are tremendously influenced by cultural norms rather than objective universal truths about Art and the formal significance of novelty. And with regard to Shakespeare and early modern British literature, the contemporary framework is just deeply bizarre and inappropriate to their cultural understanding of storytelling.

Okay, breaking my principles hiatus again for another fanfic rant despite my profound frustration w/ Tumblr currently:

I have another post and conversation on DW about this, but while pretty much my entire dash has zero patience with the overtly contemptuous Hot Fanfic Takes, I do pretty often see takes on Fanfiction's Limitations As A Form that are phrased more gently and/or academically but which rely on the same assumptions and make the same mistakes.

IMO even the gentlest, and/or most earnest, and/or most eruditely theorized takes on fanfiction as a form still suffer from one basic problem: the formal argument does not work.

I have never once seen a take on fanfiction as a form that could provide a coherent formal definition of what fanfiction is and what it is not (formal as in "related to its form" not as in "proper" or "stuffy"). Every argument I have ever seen on the strengths/weaknesses of fanfiction as a form vs original fiction relies to some extent on this lack of clarity.

Hence the inevitable "what about Shakespeare/Ovid/Wide Sargasso Sea/modern takes on ancient religious narratives/retold fairy tales/adaptation/expanded universes/etc" responses. The assumptions and assertions about fanfiction as a form in these arguments pretty much always should apply to other things based on the defining formal qualities of fanfic in these arguments ("fanfiction is fundamentally X because it re-purposes pre-existing characters and stories rather than inventing new ones" "fanfiction is fundamentally Y because it's often serialized" etc).

Yet the framing of the argument virtually always makes it clear that the generalizations about fanfic are not being applied to Real Literature. Nor can this argument account for original fics produced within a fandom context such as AO3 that are basically indistinguishable from fanfic in every way apart from lacking a canon source.

At the end of the day, I do not think fanfic is "the way it is" because of any fundamental formal qualities—after all, it shares these qualities with vast swaths of other human literature and art over thousands of years that most people would never consider fanfic. My view is that an argument about fanfic based purely on form must also apply to "non-fanfic" works that share the formal qualities brought up in the argument (these arguments never actually apply their theories to anything other than fanfic, though).

Alternately, the formal argument could provide a definition of fanfic (a formal one, not one based on judgment of merit or morality) that excludes these other kinds of works and genres. In that case, the argument would actually apply only to fanfic (as defined). But I have never seen this happen, either.

So ultimately, I think the whole formal argument about fanfic is unsalvageably flawed in practice.

Realistically, fanfiction is not the way it is because of something fundamentally derived from writing characters/settings etc you didn't originate (or serialization as some new-fangled form, lmao). Fanfiction as a category is an intrinsically modern concept resulting largely from similarly modern concepts of intellectual property and auteurship (legally and culturally) that have been so extremely normalized in many English-language media spaces (at the least) that many people do not realize these concepts are context-dependent and not universal truths.

Fanfic does not look like it does (or exist as a discrete category at all) without specifically modern legal practices (and assumptions about law that may or may not be true, like with many authorial & corporate attempts to use the possibility of legal threats to dictate terms of engagement w/ media to fandom, the Marion Zimmer Bradley myth, etc).

Fanfic does not look like it does without the broader fandom cultures and trends around it. It does not look like it does without the massive popularity of various romance genres and some very popular SF/F. It does not look like it does without any number of other social and cultural forces that are also extremely modern in the grand scheme of things.

The formal argument is just so completely ahistorical and obliviously presentist in its assumptions about art and generally incoherent that, sure, it's nicer when people present it politely, but it's still wrong.

[norcester-archive]

i saw him at the mall last week. [ANDRI BANDELLO , SYM]

[klavieras]

"I think I'd let her devour me. Why do we have such nice flesh if not to have it ruined by those who matter most? That's what intimacy is, isn't it- ruining a person? Why do I have enough meat for one person to thrive off of if I am not supposed to let them feed?

I think I'd let her if she cooked me into something nice. To show she cares. She is patient, she is willing. Maybe if she cut off my arm and let me watch as she cooked the cutlet and let my blood drip, drip, drip into a glass for her to drink, I'd let her. I think I'd let her. Let me be your life.

I think she could. I think I'd ask nicely. Be gentle, be gentle. Swallow me. Kill me. Be gentle. Live for me. From me. Let me be your life. I think you were right about this all along."

- Maybe It's Too Personal / Jamie Bandello

[fard-rock-blog]

Nelide Bandello/Bar Tritolo | Milagro

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[dixvinsblog]

Almanach Vermot 1939 : Anecdote historique : Vengeances d'artistes

Les artistes de grand talent sont souvent très susceptibles et n’admettent guère d’être importunés lorsqu’ils exécutent leurs œuvres. Voici quelques anecdotes sur le sujet Leonardo di Vinci Le grand Léonard de Vinci était de ceux-là. Lorsqu’il fut chargé de peindre la célèbre Cène dans le couvent des Grâces, à Milan, le prieur Vincent Bandello s’aperçut que le peintre travaillait avec une…