#cell the character and cell the prison cell

[starrynightsoversunflowers]

I made a rec list for Latin American books that have queer themes

*DISCLAIMER: "Queer" is not a theme per se. Sometimes it's about identity, sexuality, love, horror, violence, etc. All happening around queer characters.

Most of these deal with pretty heavy themes: prostitution, rape, violence, aids, death. Some representations can be considered "problematic" if you're boring. There are different ways to approach queerness.

Feel free to yell at me about these books/ask where to read them/make recommendations/etc. I definetly have favourites. Also some have movie adaptations.

Descriptions and warnings under the cut

La condesa sangrienta (The bloody countess):

The story of countess Erzebeth Báthory, a medieval hungarian countess know for committing more than 650 murders and inspiring the figure of the vampire. There´s no explicit queer relationships here but there´s absolutely some homoerotism in the narrations of torture. Pizarnik was a lesbian also. TW: disturbing, torture, blood, murder, you should not read this in one go.

El lugar sin límites (Hell has no limits):

The story about la Manuela, a homosexual transvestite that owns half a brothel in a small town. Her daughter owns the other half. The novel shows crudely the misery of forgotten towns and the day to day life of prostitution. There's also a movie. TW: prostitution, murder, homo/transphobia.

El mundo alucinante (A Hallucinations):

A fantasy and free version parody of the Memoires of Fray Servando Teresa de Mier. Known for the uses of magical realism and innovative prose.

Cobra:

Two stories meet. The first is of Cobra, a transvestite, and her transformation. The second of her initiation in a band of black jackers. Erotism and death.

Evita vive (Evita lives):

A controversial book around Eva Perón (after her death) who lives among prostitutes and homosexuals, having orgies and living a life of debauchery.

El beso de la mujer araña (The kiss of the spider woman):

The meeting of two prisoners living in the same cell. One, Valentín, is a political prisoner and the other, Molina, is a sexual deviant. During their weeks there, Molina narrates movies to Valentín and their relationship develops. There's also a movie.

Stella Manhattan:

During Brasil's military dictatorship, the apolitical Eduardo, a.k.a. Stella Manhattan, is expelled form his country for his shameful homosexuality. He returns to the surface as a brazilian counsil in New York and is immediately accosted by a military called Colonel Vianna, a sadomasichist known as the "Black Widow", and by the guerrillas seeking his befall.

Antes que anochezca (Before night falls):

Th 7th of december of 1990 the Cuban author Reinaldo Arenas, in a terminal phase of AIDS, would commit suicide, leaving behing this moving and political testimony, which he finished mere days before taking his own life.

Salón de belleza (Beauty salon):

In a large, unnamed city, a strange, highly infectious disease begins to spread, afflicting its victims with an excruciating descent toward death, particularly unsparing in its assault of those on society's margins. Spurned by their loved ones and denied treatment by hospitals, the sick are left to die on the streets until a beauty salon owner, whose previous caretaking experience extended only to the exotic fish tanks scattered among his workstations, opens his doors as a refuge. In the ramshackle Morgue, victim to persecution and violence, he accompanies his male guests as they suffer through the lifeless anticipation of certain death, eventually leaving the wistful narrator in complete, ill-fated isolation.

Bajar es lo peor (Going down is the worst):

With gothic resonances, Enríquez shows crudely the Buenos Aires of the 90's. The confinement and the paranoia of cocaine, sex as a means to escape or survive, political unbelief, mix with a romantic love that never reaches satisfaction. There's also a movie. TW: drugs, prostitution, rape, suicide.

Loco afán (Mad eagerness):

These "chronicles of aids" narrate stories of homosexuality in Latin America, focused on drag, transvestites and AIDS.

Sirena Selena vestida de pena:

Discovered by Martha Divine in the backstreets of San Juan, picking over garbage, drugged out of his mind and singing boleros that transfix the listener, a fifteen year old hustler is transformed into Sirena Selena, a diva whose uncanny beauty and irrisistable voice will be their ticket to fame and fortune. Auditioning for one of the luxury hotels in the Dominican Republic, Selena casts her spell over Hugo Graubel, one of the hotel's rich investors. Graubel is a powerful man in the Republic, married with children. Selena, determined to escape the poverty and abuse s/he suffered as a child, engages Graubel in a long seduction in this mordant, intensely lyrical tragi-comedy - part masque, part cabaret - about identity (class, race, gender) and "the hunger and desire to be other things."

Tengo miedo torero (My tender matador):

It is the spring of 1986, and Chilean dictator Augusto Pinochet is losing his grip on power. In one of Santiago’s many poor neighborhoods, a man known as the Queen of the Corner embroiders linens for the wealthy. A hopeless and lonely romantic, he listens to boleros to drown out the gunshots. Then he meets Carlos, a young, handsome man who befriends the aging homosexual and uses his house to store mysterious boxes and hold clandestine meetings. And as the relationship between these two very different men blossoms, they find themselves caught in a revolution that could doom them both. There's also a movie.

Adiós mariquita linda (Goodbye pretty pansy):

Chronicles of ire, delation, passion, resentment and loves. Stories of different cities and travels.

Sexografías (Sexographies):

In fierce and sumptuous first-person accounts, renowned Peruvian journalist Gabriela Wiener records infiltrating the most dangerous Peruvian prison, participating in sexual exchanges in swingers clubs, traveling the dark paths of the Bois de Boulogne in Paris in the company of transvestites and prostitutes, undergoing a complicated process of egg donation, and participating in a ritual of ayahuasca ingestion in the Amazon jungle--all while taking us on inward journeys that explore immigration, maternity, fear of death, ugliness, and threesomes. Fortunately, our eagle-eyed voyeur emerges from her narrative forays unscathed and ready to take on the kinks, obsessions, and messiness of our lives. Sexographies is an eye-opening, kamikaze journey across the contours of the human body and mind.

Los topos (The moles):

The son of missing persons of the Dictatorship casually meets a half-brother who poses as a transvestite to investigate ex repressors and cops.

La virgen cabeza (Slum virgin):

When the Virgin Mary appears to Cleopatra, she renounces sex work and takes charge of the shantytown she lives in, transforming it into a tiny utopia. Ambitious journalist Quity knows she’s found the story of the year when she hears about it, but her life is changed forever once she finds herself irrevocably seduced by the captivating subject of her article.

Falsa liebre (False hare):

The darkness at the port engulfs everything. Pachi and Vinicio go deeper into the beach, approaching an improvised party. They are looking for something to numb their bodies, something to finally erase themselves. Summer has been long, and that day was much worse. Not far from there, Zahir fantasizes about his next travel to the capital city or the northern part of Mexico, away from the aunt who keeps asking him for money, controls him through physical violence, and has driven his little brother, Andrik, to run away from the family home and end up in another: a man’s house, who caresses Andrik and then strikes him with the same hand. Now Zahir must not only convince Andrik to start a new life, but make sure they find a way out of that seemingly endless beach. TW: rape, prostitution, violence.

Ladrilleros (Brickmakers):

Oscar Tamai and Elvio Miranda, the patriarchs of two families of brickmakers, have for years nursed a mutual hatred, but their teenage sons, Pájaro and Ángelito, somehow fell in love. Brickmakers begins as Pájaro and Marciano, Ángelito’s older brother, lie dying in the mud at the base of a Ferris wheel. Inhabiting a dreamlike state between life and death, they recall the events that forced them to pay the price of their fathers’ petty feud. The Tamai and Miranda families are caught, like the Capulets and the Montagues, in an almost mythic conflict, one that emerges from stubborn pride and intractable machismo. Like her heralded debut, The Wind That Lays Waste, Selva Almada’s fierce and tender second novel is an unforgettable portrayal of characters who initially seem to stand in opposition, but are ultimately revealed to be bound by their similarities. TW: violence.

Cuerpo a tierra (Body to the ground):

We aren't always owners of our own decisions, sometimes we´re pulled by an irrecognizable impulse and, sometimes, the only truth is that of the body. Betrayal and deception, love and heartbreak, love and search are the protagonists of these stories.

Temporada de huracanes (Hurricane season):

The Witch is dead. And the discovery of her corpse has the whole village investigating the murder. As the novel unfolds in a dazzling linguistic torrent, with each unreliable narrator lingering on new details, new acts of depravity or brutality, Melchor extracts some tiny shred of humanity from these characters—inners whom most people would write off as irredeemable—forming a lasting portrait of a damned Mexican village. There will be a movie by the end of the year. TW: rape, paedophilia, prostitution.

Pelea de gallos (Cockfight):

Ampuero sheds light on the hidden aspects of the home: the grotesque realities of family, coming of age, religion, and class struggle. A family’s maids witness a horrible cycle of abuse, a girl is auctioned off by a gang of criminals, and two sisters find themselves at the mercy of their spiteful brother. With violence masquerading as love, characters spend their lives trapped reenacting their past traumas. Heralding a brutal and singular new voice, Cockfight explores the power of the home to both create and destroy those within it. TW: rape, incest, violence.

Las aventuras de la China Iron (The adventures of China Iron):

1872. The pampas of Argentina. China is a young woman eking out an existence in a remote gaucho encampment. After her no-good husband is conscripted into the army, China bolts for freedom, setting off on a wagon journey through the pampas in the company of her new-found friend Liz, a settler from Scotland. While Liz provides China with a sentimental education and schools her in the nefarious ways of the British Empire, their eyes are opened to the wonders of Argentina’s richly diverse flora and fauna, cultures and languages, as well as to the ruthless violence involved in nation-building.

Mandíbula (Jawbone):

Fernanda and Annelise are so close they are practically sisters: a double image, inseparable. So how does Fernanda end up bound on the floor of a deserted cabin, held hostage by one of her teachers and estranged from Annelise? When Fernanda, Annelise, and their friends from the Delta Bilingual Academy convene after school, Annelise leads them in thrilling but increasingly dangerous rituals to a rhinestoned, Dior-scented, drag-queen god of her own invention. Even more perilous is the secret Annelise and Fernanda share, rooted in a dare in which violence meets love. Meanwhile, their literature teacher Miss Clara, who is obsessed with imitating her dead mother, struggles to preserve her deteriorating sanity. Each day she edges nearer to a total break with reality. TW: violence, cannibalism.

Las malas (Bad girls):

A trans woman's coming-of-age tale about finding a community among fellow outcasts. Born in the small Argentine town of Mina Clavero, Camila is designated male but begins to identify from an early age as a girl. She is well aware that she's different from other children and reacts to her oppressive, poverty-stricken home life, with a cowed mother and abusive, alcoholic father, by acting out-with swift consequences. Deeply intelligent, she eventually leaves for the city to attend university, slipping into prostitution to make ends meet. And in Sarmiento Park, in the heart of Córdoba, she discovers the strange, wonderful world of the trans sex workers who dwell there. Taken under the wing of Auntie Encarna, the 178-year-old eternal whose house shelters this unconventional extended family, Camila becomes a part of their stories-of a Headless Man who fled his country's wars, a mute young woman who transforms into a bird, an abandoned baby boy who brings a twinkle to your eye. TW: rape, prostitution, transphobia, murder, child death.

Nuestra parte de noche (Our share of the night):

A young father and son set out on a road trip, devastated by the death of the wife and mother they both loved. United in grief, the pair travel to her ancestral home, where they must confront the terrifying legacy she has bequeathed: a family called the Order that commits unspeakable acts in search of immortality. For Gaspar, the son, this maniacal cult is his destiny. As the Order tries to pull him into their evil, he and his father take flight, attempting to outrun a powerful clan that will do anything to ensure its own survival. But how far will Gaspar’s father go to protect his child? And can anyone escape their fate? Moving back and forth in time, from London in the swinging 1960s to the brutal years of Argentina’s military dictatorship and its turbulent aftermath.

Tesis sobre una domesticación (Thesis about a domestication):

A single transvestite is enough to undermine the foundations of a house, to untie the knots of compromise, to break a promise, to give up a life. The familiy clings to brief moments of happiness without noticing it´s been defeated since the start.

La hija única (Still born):

Alina and Laura are independent and career-driven women in their mid-thirties, neither of whom have built their future around the prospect of a family. Laura is so determined not to become a mother that she has taken the drastic decision to have her tubes tied. But when she announces this to her friend, she learns that Alina has made the opposite decision and is preparing to have a child of her own. Alina's pregnancy shakes the women's lives, first creating distance and then a remarkable closeness between them. When Alina's daughter survives childbirth – after a diagnosis that predicted the opposite – and Laura becomes attached to her neighbor's son, both women are forced to reckon with the complexity of their emotions, their needs, and the needs of the people who are dependent upon them. TW: child disease, family violence.

Huaco retrato (Undiscovered):

In an ethnographic museum in Paris, Gabriela Wiener is confronted with her unusual inheritance. She is visiting an exhibition of pre-Columbian artefacts, the spoils of European colonial plunder. As she peers through the glass, she sees sculptures of Indigenous faces that resemble her own - but the man responsible for pillaging them was her own great-great-grandfather, Austrian colonial explorer Charles Wiener. In the wake of her father's death, Gabriela begins delving into all she has inherited from her paternal line. From the brutal trail of racism and theft that Charles left behind to revelations of her father's infidelity, she traces a legacy of abandonment, jealousy and colonial violence, in turn reframing her own struggles with desire, love and race. Seeking relief from these personal and historical wounds, Gabriela turns to the body and desire as sources of both constraint and potential freedom.

Sacrificios humanos (Human sacrifices):

An undocumented woman answers a job posting only to find herself held hostage, a group of outcasts obsess over popular boys drowned while surfing, and two girls suspect sinister behavior from the missionaries lodging in their home. Simultaneously terrifying and exquisite, Human Sacrifices is "tropical gothic" at its finest. Ampuero considers the decay and oppression beneath the surface of our humid and hostile world, where those on the margins must pay the price for the comfort and safety of the elite. These twelve stories contemplate the nature of exploitation and abuse, illuminating the realities of those society consumes and leaves behind.

Soy una tonta por quererte (I'm a fool to want you):

In the 1990s, a woman makes a living as a rental girlfriend for gay men. In a Harlem den, a travesti gets to know none other than Billie Holiday. A group of rugby players haggle over the price of a night of sex, and in return they get what they deserve. Nuns, grandmothers, children, and dogs are never what they seem. These 9 stories are inhabited by extravagant and profoundly human characters who face an ominous reality in ways as strange as themselves.

Las indignas (The unworthy):

A searing, dystopian tale about climate crisis, ideological extremism, and the tidal pull of our most violent, exploitative instincts. TW: death, animal death, rape, cults.

[anonymous-dentist]

q!Pac 🤝 q!Cellbit

Cell-related trauma

[valdrift]

personal hcs of the dead cells guys

[royalarchivist]

Pac: Take care of Ramon, take care of Richas, ok? See you on the other side, big boy.

Fit: [Laughs] Take it easy, big boy. Take it easy, big boy. Actually, nononono– You can't just say "big boy" and then just expect me to not drag you outta here. [Fit tries to lasso Pac] You're coming with me.

Pac: No, I need to leave!

Fit: You're coming with me. You are not dying today! You are not dying today!

Pac: I need to leave, Fit! I'm sorry, I'm sorry!

Ironmouse: Are you guys like, having sexy time?

Fit: There's homosexual activity going on Mouse, don't worry about us, ok?

Ironmouse: You guys, we don't have time to be gay right now.

[ Full Transcript ↓ ]

-

Pac: I'm just here to say goodbye to you, Fit.

Fit: Goodbye? We're not– we're gonna be fine, we're going to get out of here, don't worry.

Aypierre: Yeah, don't worry!

Pac: I know, but like– I will sleep until the end, you know? I will pass through this moment sleeping, man. I won't be able to be awake for the moment.

Fit: [Laughs] You know, it's– I mean, if that's how you wanna go, but– I mean, that- I mean, isn't that bed kind of like.... I don't know, it's–

Pac: No no, I will be staying on the sofa, you know, I will be staying on the sofa.

Fit: Oh the sofa. Ok, that's a nice sofa! Yeah, that is a pretty nice sofa.

Pac: Yeah, it's a nice sofa right? No, yeah– I'm going to stay on the sofa, you know? So, since I will be going Fit... [Pac starts tossing Fit all his items]

Aypierre: [Not paying attention to their conversation] Is that bigger cell? I don't think it's a bigger- biggest one.

Fit: Oh... Thank you Pac, thank you.

Pac: Everything you need to survive, ok?

Fit: Wow.

Aypierre: Wow.

Pac: And if you need this one also, maybe, who knows? [Throws him more items]

Fit: Ohhh, well hey– just take this to remember me by, ok? [Tosses him a photo of himself – the same one Aypierre was carrying all day yesterday]

Pac: [Laughs] Ok, I will sleep holding the picture you know, like this. You know, I will dream about you, Fit. And I hope this is gonna be good dreams. I see you in the other side. Good luck, my friend.

Fit: The other side... Yeah, you know, yeah, we– we– you know? It's been an honor, Pac. It's been an honor, you know?

Pac: Yeah, for me too, you know? Take care of Ramon, take care of Richas, ok?

Fit: Ok.

Pac: See you on the other side, big boy.

Fit: I will sing your praise– Oh yeah, hey– [Laughs] Take it easy, big boy. Take it easy, big boy. Actually, nononono– You can't just say "big boy" and then just expect me to not drag you outta here. You're coming with me.

Pac: No, I need to leave!

Fit: You're coming with me. You are not dying today! You are not dying today!

Pac: I need to leave, Fit! I'm sorry, I'm sorry!

Fit: Sorry, there's–

Pac: I'm sorry!

Ironmouse: Are you guys like, having sexy time?

Fit: There's homosexual activity going on Mouse, don't worry about us, ok?

Ironmouse: You guys, you guys– we don't have time to be gay right now, come on. There's no time.

Pac: No, there's no time! Oh, goodbye Fit...

Fit: Ok, c'mon, no no no, come on, we got this we got this!

Pac: Goodbye Fit, I'm sorry!

Fit: [Laughs] Oh no...

[blabberoo]

I imagine both drifter and bobby are somewhat desensitized of death. Bobby more so cares less of corpses and sees them more as things to loot, while drifter is somewhat numb to the ticking timer he's in (he makes off handed jokes about himself that sounds slightly concerning). Drifter still respects the dead and what theyve left behind, thinking that borrowing their weapons as some sort of relief for the dead (Quirrel's words ;u;). "Borrowing", because he knows well it will be used by others when these things outlives him, and hes ok with it. (He also believes that a tool that still serves its functions has no reason to go unused)

Bobby is a loud and proud jerk, and drifter rattled that concept simply by just being himself, unexpectant on how it would affect bobby. While he had been familiar of death, he never properly grasped the concept of losing someone he truly loved.

And he doesnt know how to deal with it.

[valenfield-inspo]

Chris Redfield & Jill Valentine - Resident Evil 1 Moodboard

[cellberry]

...did Cellbit make it to Pepito's birthday? I genuinely cannot tell.

[mitsundere]

doodle of @tero-ga 's swap au benbaro!!!

[oh-meow-swirls]

was looking through old posts and i'm surprised to see that i seemingly didn't have any commentary on anything in 3 in chapter 7, 8 or 9, the posts related to 3's story go from "my first reaction when i saw yopple-bot was 'i love you. but also you are definitely the boss for this chapter-'" to "i have been in hell all day. hell being bada-bing tower." funny to me cuz those chapters are like, the best ones sdfkljsdfjfsdkjlfsdjkl-

[anexistingexistence]

Woke up in the middle of the night last night and wrote this on a sticky note before passing out again

"I have no gender. Am pretty fuckless" is a direct quote from the comic I dreamt of.

[crazyw3irdo]

do y’all ever think about how yancy knows how to break out of prison and actively chooses not to. do you ever think about how when he breaks us out he knows the way so easily as if he’s been there a million times before. do you ever wonder if at some point he considered breaking himself out and just couldn’t go through with it.

[stuck-in-the-ghost-zone]

OK FUCK IT i am taking a break to listen to music and make. cinnamon cake

[nessiefynn]

i should compile all my Thoughts on Juiz and like make them more coherent. i dumped some of them on twitter, but twitter is twitter

[symbioticsimplicity]

The only way the soul lore works for me as a source of guilt is if vampires can choose *not* to be evil. If they're just mindless demons who take over a host's body after they die, it makes no sense to feel guilty about the actions taken after that.

The demon isn't a separate thing, the person is still who they were when they died, demons just don't have inhibitions. So whatever it is they *want*, they do. Whatever it is that is the core of that person wants most is what is exemplified most in their demon form.

So in Angel's case, the guilt comes from not only having wanted those things and having done them, but from *having had the option not to.*

[crudaka]

What if Igor ended up in Prison? yeah its a likely possibilty.

and his short frame doesnt stop him from beating you up

[kakimushire]

〘 tiny!akon 〙there's a tug on mayuri's sleeve and big, bland, dark-circled eyes looking up at the other prisoner. "there's a man over there who says he wants to rip out your insides. if he does, can i have them?"

❝ Hmm? ❞ His head slowly turned to the sound. To the tug. Mayuri had settled himself down on the floor, as close to the metal bars as he could reach. His sleeve barely sticking out. The chain around his ankle would prohibit him from moving any further away from the wall he was chained to.

He'd been lost in thought. It was the only way to pass time here. He had nothing to do. He had a vivid imagination, so for the time being, he had little problems entertaining himself. Not to mention... When he thought about the outside world, it was not... Very tempting to step into it. Not that he could. He'd stay here, for the rest of his life. He knew that. He was different, and so the world would reject him.

There was a child tugging at his sleeve. Mayuri was only a teenager himself, though it was hard to determine his age, thanks to the paint he wore all over his body. How had this brat gotten here? The prisoners knew that in this cell, a MONSTER was kept. Someone so dangerous that nobody was allowed here. So why had the child wandered here? Perhaps he was here seeking death. Mayuri wouldn't grant that to him. ❝ My insides? Certainly, you can have them. I must warn you though, they are toxic. ❞