#censorship of fairytales

[adarkrainbow]

The Yaga journal: Baba Yaga in Soviet movies

And we reach the final article I will translate from the “Yaga journal”: Baba Yaga sur l’écran soviétique (Baba Yaga on the Soviet screen), by Masha Shpolberg! 

In 1979, the Soviet studio Soïuzmultfilm produced a three-part cartoon for the Olympic Games that had to happen the following year. The first episode opens with a choir of journalists proclaiming in all the languages of earth: “Micha the bear-cub was just elected Olympic mascot of Moscow”. Baba Yaga listens to this in her cabin, and becomes enraged: “Why him? Why him and not me?”. “Everybody agrees to it!” the journalists say. “And Baba Yaga is against it!” she says, before attacking the television screen with her broom. Throughout these three short episodes, the “Baba Yaga is against it!” cartoon tells the various attempts (and failures) of Baba Yaga and her assistants (Zmeï Gorynytch and Kachtcheï the Immortal) to prevent Micha from reaching the games. The plot relies on the omnipresence of Baba Yaga in the Soviet imagination, and her importance as a symbol of folk-culture. However Baba Yaga did not always have such a status. The witch and her tales were banned by the Soviet Union soon after its creation. Starting in 1918, the year of the creation of the komsomol or “union of Leninist-communist youth”, the Soviet Party reorgaized the educational system: it was decided that fairytales had no place in education. Its rural and pagan roots were problematic for a State which wanted to create an industralized and rationalized world. Galina Kabakova explained that on one side, the fairytale did not carry the values of the new society, and on the other the marvelous and fantastical was considered toxic for the minds of the youth that were to build socialism.

The persecution of the fairytale knew its peak in 1924, when Nadejda Krupskaïa , the companion of Lenine and the president of the Glavpolitprosvet, the Central Comity in charge of Political Education, demanded that all public libraries got rid of the books “with a negative emotional or ideological influence”, as well as the books that “did not conform the new pedagogic approach”. This included the fairytale books of Afanasiev. As the cultural historian Felix J. Oinas explains, in the beginning of the 20s several Soviet critics argued that the folklore was carrying the ideology of the dominant classes, which in turn led the proletarian literary organizations to receive very negatively folktales and fairy tales. A special section of the Proletkult for children even attacked fairy tales based on their “glorification of the tsars and tsarevitchs”, claiming that they were “reinforcing bourgeois ideals” and “causing unhealthy fantasies” in children. When the fairytale re-appeared in the middle of the 30s, it was because the Soviet political culture had decided to re-appropriate the Russian folklore for itself. Just like the Romantic nationalists of the pre-Revolutionnary era, this ideological turn aimed at melting the personal identity in a vaster, collective identity. And what was the best medium to do it? Cinema. Alexander Prokhorov, in his “Brief history of the Soviet cinema for children and teenagers”, explained that the cultural administrators of Staline changed their view on folk-culture, and the fairy tale became a legitimate cinema genre since it helped visualize the spirit of the miraculous reality proclaimed by the Stalinian culture. The end of the NEP, in 1928, also put an end to the importation of foreign movies, freeing the Soviet cinema from all competition - and of all commercial goals. 

In 1934, during the first congress of Soviet writers, Samouil Marchak and Maxime Gorki insisted on the importance of childhood literature for the creation of a new Sovietic man, and in 1936 the Sovnarkom, the highest governemental authority, established two new studios out of the ancient Mejrabpomfilm: Soïuzdetfilm, for children movies, and Soïuzmutfilm, for cartoons. It is in this political and institutional context that the young moviemaker Alexandre Ro’ou (in English his name is spelled “Rou”) decided that, for his first film in 1937, he was to adapt a very famous fable, “Wish upon a Pike”. The success of this movie allowed here to adapt a fairytale, more complex on an ideological level: Vassilissa the Beautiful, in 1939. Through this movie he became the “founding father” of the genre of the cinematographic fairytale. It is in this movie that Baba Yaga made her first appearance in cinema, played by a man - Guéorgui Milliar. Throughout the next thirty years, Milliar would play Baba Yaga in three other movies of Ro’ou: in Morozko (1964), in “Fire, Water and Brass Pipes” (1968) and in “The Golden Horns” (1972).

In this article, the author will analyze the evolution of the character of Baba Yaga throughout these four movies - based on the social and political context. While always created by the same movie-maker, and played by the same actor, Baba Yaga is never the same character in these movies. Throughout the years she is slowly “domesticated”: from a macabre and intimidating force of nature, she becomes a vain hag, more superfical than wicked, from a relic of the past, she becomes a modern mascot. By analyzing the narrative and aesthetic choices causing this transformation, the author wants to analyze the allegories of each movie in their historical context. 

I) Baba Yaga in the Stalinian era: Vassilissa the Beautiful (1939)

Vassilissa the Beautiful, a movie adaptation of the story “The Princess-Frog”, was conceived as much as an entertainment as a teaching tool. In the version of Ro’ou, Vassilissa is not a princess and Ivanouchka is not an idiot. The two are rather hard-working, intelligent, honest people. The brothers of Ivanouchka oppose the duo by the women their find as wives: an excentric aristocrat, and a gluttonous merchant’s daughter. The entire first part of the movie presents an allegory of the fight of the social classes. The brothers and the wives do nothing while Ivanouchka goes hunting and Vassilissa does the chores, and then they pretend to have done the honest workers job. 

Baba Yaga only appears in the second half of the movie, when the wives burn the frog skin of Vassilissa, and the maiden is ravished by Zmeï Gorynytch. A title-card mentions “In the land of the Zmeï, Vassilissa the very beautiful was guarded by Baba Yaga”. Traditionally, the role of kidnapper in Russian fairytales is played by Kachtcheï the Immortal, who doesn’t appear in the movie - but the Zmeï here fills his role as “the rival of the male hero for the hand of the woman, usually a fiancée or a wife, sometimes his mother” and “the male counterpart of Baba Yaga”. So, as much in their home as in the magical land, Ivanouchka and Vassilissa must fight against oppressors that take away their goods and exploit their work. Jack Zipes noted that, according to the marxist reading of the fairytales, Baba Yaga symbolizes “the entire feodal system, where the greed and brutality of aristocracy are responsible for the hard living conditions. The murder of the witch is the symbol of the hatred felt by the peasants against this aristocracy, that hoards and oppresses.” However, in the Vassilissa movie of Ro’ou, Baba Yaga plays a more ambiguous role. Her skinny and nervous figure, the rags she wears, allows her to hide herself in nature. Her hunched back imitates the rocks, the way she spreads her arms and legs imitated tree branches. By fusing with the landscape, she can attack Ivanouchka without ever being seen by him. Often Ro’ou likes to superposition to allow Baba Yaga to appear and disappear suddenly. As a result she seems half-translucid in many scenes, suggesting that she is a force of nature - or even the personification of the forest. 

The “magical” part of the movie plays on the contrast between the domain of Baba Yaga (the forest) and the domain of the Zmeï (the mountain). The two realms are heavily inspired by the expressionist cinema of Germany (especially the sets of the Cabinet of Doctor Caligari, in 1920), but couldn’t be further from each other. The world of the Yaga is the one of the dark forest, confusing and threatening, but deeply organic and human. The world of the Zmeï, however, is an industrialized, hyper-sanitized, geometrical world. A post-human world, or one devoid of humanity: a fascist world. Indeed, the historical context of the movie invites an allegorical reading: the Germano-Sovietic Pact was signed the 23rd of August 1939, and the movie was released the 13th of May 1940, one year before the Nazi invasion of the Soviet Union in june 1941. At the time, while Germany wasn’t an official enemy (and it is hard to imagine that Ro’ou selected this tale with a political purpose in mind). But the movie is a proof of the tension that existed at the time about the entire situation. Baba Yaga, who keeps turning and roaming around Vassilissa, reminds of the painting of occidental paintings, “Death near the Maiden”. It isn’t just the virginity of Russia (aka, the integrity of its frontiers) that are threatened - it is her very life that is at play. 

Vassilissa, a girl who is obedient and modest when she is free, becomes proud and rebellious in captivity. She is a model of resistance that anounces the true female heroes of the Second World War in Russia, such as Zoïa Kosmodemianskaïa (made famous by the movie of Leo Arnchtam in 1944). Just like Zoïa, Vassilissa is ready to sacrifice herself for the good of others, and to follow her own principles. When Baba Yaga discovers the hat of Ivanouchka in her isba she aks Vassilissa “Where is he? You say nothing? If you say nothing, I will make you talk. Maybe fire will make you more talkative.” Vassilissa is only saved from torture by the arrival of Zmeï Gorynytch. 

The analogy between the monster and the foreign invader is reinforced by the third cinematographic fairytale of Ro’ou, Kachtcheï (Koschei). Filmed in the Altaï and the Tadjikistan in 1944, and released the day of the victory (9th May 1945), the movie tells “how Koschei the Immortal fell onto Russia like a thunder clap in a peaceful sky, burned out houses and our bread, massacred the population and took away thousands of women”. Even if the historical facts cannot allow us to read “Vassilissa” as a simple allegory of the war to come, the images still carry the possibility of an upcoming conflict. We can read it in the presentation of Vassilissa as a resistant-model, as much as in the glorification of the elements of folk-culture (aka, part of Russian culture). The movie is also preceeded by a prologue in which three bards introduce the tale by playing gousli (gusli), a traditional musical instrument. When Ivanouchka goes searching for Vassilissa, the text says “He wandered for a long time throughout his native earth” - even the typography of the title-cards reminds the medieval books. All these elements create throughout this movie a new “nationalist vocabulary”, and so unite a nation threatened by an external force. As Prokhorov explains, “The movies of Ro’ou, just like the kolkhoz musical comedies of Ivan Pyr’ev, were answered an official demand of art inspired by the narodnost (popular spirit/folk spirit)”, an art that “allowed the entire Soviet community to stay in touch with their popular spirit, as the metaphysical source of the communal strength”. The internationalism of the first years of the Soviet Union was slowly breaking down in front of this romantic and deeply essentialist view of the nation. 

II) Baba Yaga throughout the Thaw: Morozko (1964), Fire, Water and Brass Pipes (1968) and The Golden Horns (1972)

The period that followed the war was once again difficult for the fairytales, and all those that studied folk-culture. Félix Oinas explains: “After the war, the Russian folklorists knew another series of trials, perhaps the most difficult of them all. The era of the ideological dictatorship of Jdanov, nicknamed Jdanovchtchina, started in 1946, and quickly became an anti-West witch hunt”. Vladimir Propp had just published “The historical roots of the fairy tale”, which was heavily criticize due to containing numerous quotes of Western folklorists, as well as comparativist ideas, not to say cosmopolite ones. In 1947, Soïzudetfilm was re-organized and became the Gorki studo: the studio however did not have any order or demand for children movie.  In 1952, the situation led Constantin  Simonov and Fedor Parfenov to publish an open letter in the Literaturnaïa gazeta “Let’s resurrect the cinematography for children”. However it was only in 1957, after the death of Staline and the succession of Khrouchtchev, that the minister of culture finally commissioned an augmentation of children movie production. In 1961, the Gork studio was named “Gorki central Studio of cinema for children and the youth”. 

When Ro’ou produced Morozko, in 1964, it was in conditions very different and yet paradoxically very similar to the ones in which Vassilissa the Beautiful was produced. The first novelty was the use of color: the second half of the movie takes place in winter, which forces a restrained color palette, even in the makeup and costumes - it is limited to the red and pale blue of the traditional Russian paintings. The appearance of color makes the Baba Yaga younger, as well as more visible in the landscape - but it doesn’t make her more lively. When Ivan discovers the isba in the middle of the forest, and when said isba obeys his order for it to turn towards him, he is sincerely surprised. Baba Yaga gets out of the house yawning, and she asks grumpily “What do you want? Why, unexpected, uncalled, did you dare turn the cabin and wake up the crone?”. It is almost as if everyone in the story was forced in their part of the story against their will.  If the Yaga of Vassilissa was jumping from tree-top to tree-top, but the Yaga of Morozko keeps complaining about back problems and she asks Ivanouchka to leave her alone. She only does magic because Ivanouchka forces her to, and her speech is filled with affective diminutives ending in -tchik. Ivanouchka, in the end, doesn’t need to vanquish Baba Yaga, he rather has to convince her to help. 

The male equivalent of Baba Yaga, Morozko (Grandfather Forest / General Winter) turns out to be just as harmless as the witch. When he sees Nasten’ka, abandoned by her family to die of cold in the forest, he immediately comes to her help. The role of the two magical characters (Morozko and Baba Yaga) in the life of the young protagonists is limited to the one of a godfather or godmother. The equivalence of these two relationships is highlighted by a sequence which puts in parallel Morozko putting warm clothes on Nasten’ka and Baba Yaga doing the same for Ivanouchka. Another parallel can be found in the way the protagonists call their helpers: Ivanouchka calls Baba Yaga “Yagusia” or “Babulia-yagulia”, while Nastenka calls with affection Morozko “Morozouchka-batiouchka”. From villains, Morozko and Baba Yaga are transformed into helpers, the Donors of the Vladimir Propp’s functions. 

The most important consequence of this transformation is the new nature of the “source of Evil”. Evil doesn’t come anymore from what is supernatural, but it rather comes from what is too natural: the flaws of ordinary humans. It is the jealousy of Nasten’ka stepmother and the boasting of Ivanouchka that cause their initial separation and the unbalance that Baba Yaga and Morozko try to remedy to. The qualities preached by Morozko are very close to the ones glorified by “Vassilissa the Beautiful”: hard-work, modesty, and intelligence. What is different is the goal of these virtues: the seriousness and gravity of “Vassilissa the Beautiful” is gone. In Morozko the characters are funny and light-hearted. Ro’ou was trying in “Vassilissa” to animate the visual popular culture, inherited from the lubok and illustrated movies. But in Morozko it all becomes a great show, a smooth surface without any depth. When Ivanouchka leaves his birth-house to go seek his fortune, he passes by a group of young girls that dance and sing when seeing him - these are traditional dances and songs, but the aesthetic is much closer to the one of a technicolor musical than a medieval fantasy. 

“Fire, Water and Brass Pipes”, filmed by Ro’ou four years later, in 1968, goes even further in the idea of a show or entertainment. Caracterized by saturated colors and random explosions of music and dance, the movie is aiming at the audiovisual variety show at the cost of the stylistic coherence. This excess alos manifests at the narrative level: while Morozko reunited two distinct fairy tales (Morozko and Ivan-with-the-bear-head), “Fire, Water and Brass Pipes” is a sort of remix of elements taken from numerous myths, cultures and legends (not even all Russian!). The skeleton of the plot is roughly the same: as usual, Kachtcheï kidnaps the beloved of Ivanouchka, and he must undergo a series of trials to get her back. These trials, symbolized by the fire, water and brass pipes of the title, are so many occasions to introduce very different elements, ranging from Greek philosophers to the god Neptune. 

In this movie, Ro’ou also modifies the traditional structure of his cinematic fairytales in another way: instead of beginning by the human drama which starts the plot, he begins by the presentation of the magical beings. It is in this “prologue” that we have a full humanization of Baba Yaga: she becomes a mother, and is shown to be able to feel empathy and sorrow. The movie opens with Baba Yaga flying through the sky, rushing to the wedding of her daughter with Koschei the Immortal (also played by Milliar). When she arrives, she is humiliated twice. First, she fails to land properly, implying she can’t move as she used to. Then, nobody recognizes her at the court except for her own daughter and Koschei. This is quite revealing that in this context she introduces herself not as Baba Yaga, but as a relative of the happy couple: she joyfully says (rhyming in Russian), “I am the mother of the bride, Koschei the Immortal is my son-in-law”. This image of Baba Yaga as a mother is not taken out of nowhere: already in the story of Afanassiev called “Baba Yaga and Small-One”, the witch had forty-and-one daughters, that died by her hand. In the movie of Ro’ou, a new importance is given to her maternity as well as to her physical problems (she handles her mortar badly, she falls every time she tries to dance): it all indicates that maybe the life of a witch can be affected by the flow of time. This Baba Yaga is implied to have always been as she is now: she lived a period of youth, and now she is aging. So her life can have a beginning... and an end, like the life of all mortals. 

The prologue that presents the maternity of Baba Yaga also has a role in the narrative of the movie: it explains why the Yaga is so willingly helping Vasia (the new name of Ivanouchka). Indeed, when Zmeï Gorynytch offers Koschei a magical apple that makes him young again, he sends away his bride, deeming her too old for him, causing a public humiliation. By helping Vasia defeating Koschei and freeing his beloved (Alionouchka), Baba Yaga is actually avenging her own daughter. She needs Vasia as much as Vasia needs her. 

The Golden Horns, made in 1972, thirty-tree years after Vassilissa the Beautiful, was the last movie of Ro’ou that uses the character of the Baba Yaga. After being reduced to a second role in Morozko and “Fire, Water and Brass Pipes”, she finally regains a prominent role. Queen of the forest, she has no rival except for the deer with golden horns - as she complains to a group of hunter, the deer keeps undoing all of her traps and ruining her projects. She doesn’t have back problems anymore, and she is healthy enough to dance and sing. Indeed, throughout the movie she keeps insisting that she is still young. In the beginning of the story she is playing cards with a friend, Duraleï. When he accuses her of cheating and calls her “old hag”, she throws him away from the isba and she says to herself “He dares to call me hag, me, who everybody says has a young soul!”. The Baba Yaga of The Golden Horns isn’t wicked, but she is vain - she is a pretentious old woman that spends hours in front of her mirror. The three young lechïï that serve her constantly flirt with her, and calls her by the diminutive “Babou-yagusen’ka”, and the witch herself flirts with a group of hunter-robbers. Baba Yaga even has a musical number, a song throughout which she turns her hand-mirror into a guitar and sings “I can’t see her enough, Yaga the Fair / Oh my love, me, me me!”. 

Beyond the changes brought to the very image of Baba Yaga, Golden Horns is different from the previous movies in two main aspects. The first: the question of the relationship between genders. In Golden Horns, it isn’t a young man who tries to save his beloved from the hands of Baba Yaga or Kachtcheï. It is rather a mother, Evdokia, who tries to save her children. The final conflict is one between two women: one a mother, the other (the Yaga) an old maid. As a result the values of the more are much more conservative in nature. The song of the young girls in the prologue, with the title-cards, compare Russia to a mother. “Always happy, and a bit sad / So is Russia, my mother. / Like the fairytale, intemporal and kind / So is Russia, my mother”. It is this same Russian earth that protects Evdokia in the final battle against Baba Yaga. As the Yaga takes weapons, Evdokia remembers a small bag of soil her neighbor gave her. “Native earth, protect me!” she screams as she throws the soil towards Baba Yaga. These two sequences insist on the sacred nature of the Russian land, “mother” of the people and symbol of maternity itself. The movie implies that it is Evdokia’s maternity that makes her invincible, and that it is the vanity (the “wrong use of her gender”) that dooms Baba Yaga. The absence of a father figure also helps the manifestation of more conservative political messages. It is possible to read Evdokia as a feminist figure: she is independant, and she goes searching for her two daughters without fear. She is intelligent and strong: she isn’t even shocked when she learns she must battle Baba Yaga in a sword-fight. However, she is continuously guided and helped by masculine figure in positions of authority: the Sun, the Wind, and Golden Horns. Golden Horns also offers the perfect example of a theory brought by Evgueni Margolit and summarized by Prokhorov: “Soviet cinema expressed the ideal community of the future as a land of children, where the government filled the role of the strong, order-giving father of the people”. Evdokia, the figure of the mother, is thus treated like a child by the figures of the Father.

In conclusion, this movie offers a new definition of the political action. Like in most fairytales, the movie starts with a transgression: the twin girls of Evdokia, Machen’ka and Dachen’ka, disobey their mother’s instructions and go too far in the forest. What they cannot know is that two wicked spirits trap them, and use them to start a revolution against the Baba Yaga’s tyranny. The movie ends with a tribunal, formed by the small children-wood spirits, alongside the former friend of Baba Yaga, Duraleï. Through a vote, they decide to punish Baba Yaga by banishing her to the swamp. The events of this tale must thus be understood in a wider context, that is seen at the beginning of the movie: this movie represents a shift of powers in the forest, and is the triumph of the humble people, of the simple folks against the monarchy. 

Conclusion

In “Vassilissa the Beautiful” (1939), made before the movie, Ro’ou tries for the first time to give a cinematographic shape to the world of the folktales. Taking inspiration from the iconography of the lubok, of the illustrated book, and of the German expressionism, he creates a ciaroscuro universe filled with heavily connotated characters, all either wholly good or wholly evil. Baba Yaga, in this universe, like in the one of fairytales, according to the interpretation of Propp, is a liminal character, the guardian of the frontier between the known and the unknown. Often camouflaging herself in the forest and the rocks that surround the isba, she embodies the dark side of the nature. In a movie whose goal is to enrich the nationalist vocabulary of a land threatened by an external force, Baba Yaga becomes a problematic figure, at the same meant to be “one of us”, since she is part of the Slavic folklore, but also “one of them” since she is unpredictable and hostile. 

In the three movies realized by Ro’ou one after the other during the period known as the “Thaw”, the Baba Yaga of Vassilissa is domesticated, becomes a satire, her fangs are removed to make people laugh. While these movies keep feeding from the imagery of Russian nationalism, and keep trying to maintain the authority of the State, they are aimed at being more of an entertainment than a mystical communion with the soul of the people. By giving to Baba Yaga a biography - children, love interests, a passion for clothes and other fashions - these movies remove her from the mythological world, and give her a place in the contemporary world. It is how she becomes, at the time of the Olympic games of 1980, a cult figure, a legitimate rival to Micha the bear-cub for the title of Soviet mascot. 

[jerseydeanne]

Now Ladybird’s fairytales get the ‘sensitivity reader’ treatment: Classics like Cinderella and Sleeping Beauty to be re-examined after being branded 'outdated or harmful' for lack of 'inclusivity' and 'problematic tropes'

[17-todate]

WEIBO 📼

230808 JUN

🐱 Exclusive fairytale with JUN

[ladyloveandjustice]

My Favorite New Manga and Graphic Novels I Read in 2023

It's time to take a look at the comics and manga I read this year! I read  a whopping 78 manga and graphic novels in all. Here's a link to my Goodreads year in books (the manga is at the beginning, the novels start with Siren Queen) and my storygraph wrap up.

I also read 36 novels! If you want to see my favorites, check out my reviews here!

And finally, I've got the continuing manga series I've enjoyed this year here, so check that post out too!

The Magic Fish by Trung Le Nguyen

This is a tale about a first-generation Vietnamese-American boy struggling with coming out to his mother. He connects with his mother through fairytales-- she uses them to express her journey as an immigrant, and he uses them to explore his queerness and identity as a Vietnamese kid growing up in America. It's an absolutely gorgeous book full of Trung Le Nguyen's signature stunning art. The fantastical, ethereal fairy tales are weaved beautifully into the lives of the characters. The book explores how fairy tales can form connection, can express culture, can tap deeply into something real and true, and can offer tragedy and catharsis. The protagonist uses fairy tales to write his own story, and the ending is lovely and moving.

Exit Stage Left: The Snagglepuss Chronicles by Mark Russell and Mike Feehan

You may know Mark Russell from his darker, socially aware re-imagining of the Flintstones, which made quite a splash on Tumblr with this post. Well, I had pleasure of meeting him at a local convention, and I finally got his comic re-imagining of Snagglepuss, also of Hanna-Barbera. He re-imagines the titular pink puma as a closeted gay playwright in the 50's dealing with McCarthyism. It's as wild as it sounds,but also really digs into the politics of the time, the struggle of standing against oppression and how art fights through suppression and censorship. It's tragic, hopeful, poignant and full of historical references. I enjoyed it ! Definitely be cautious if you're deeply disturbed by homophobia and suicide.

The Summer Hikaru Died by Mokumokuren

A story about a teenage boy, Yoshiki, who realizes that his best friend and crush Hikaru has died and been replaced by a strange eldritch being who is imitating him. But, missing his loved one and desperate to cling to any piece of him, Yoshiki decides to keep on having a relationship with this mysterious entity. This book's horror is visceral and sublime, especially the bizarre, creepy, beautiful body horror involving the being who replaced Hikaru. It's an exploration of anxieties involving grief, relationships, and sexuality that hits just right, and the atmosphere layered with dread is top notch. I love me some messed up relationships and unknowable queer monsters, and this book delivers.

Chainsaw Man, Look Back and Goodbye Eri by Tatsuki Fujimoto

Chainsaw Man needs no introduction, but I did end up really enjoying the story of the doggy-devil boy hunting other devils. It got so tragic and intense at the end, with lots of great surreal horror imagery and darkly funny moments. I'm impressed it went so hard, though the random powers that kept piling up made what was happening hard to follow at times, especially in fights. I'm also enjoying the current weird arc starring a class-A disaster girl and the demon sharing her body.

Look Back

I really do enjoy how Fuijimoto writes messy pre-teen/teenage girls. They ring so true. The manga follows the fraught friendship between two girls as they create manga, exploring the struggle of art mixing with real relationships, and how someone keeps creating after tragedy. It's a little hard to follow at times (especially since I have to differentiate the leads based on hairstyle), but it's a good read.

Goodbye Eri

Probably my least favorite of the three, but it's a fun read- a weird ride that examines the thin line between fiction and reality in art and makes good use of Fujimoto's cinephile background and signature gaslight gatekeep girlboss characters.

Is Love the Answer? by Uta Isaki

The story follows a teenage girl, Chika, who has always struggled with not being attracted to anyone. When Chika enters college, she meets queer people all across the spectrum of asexuality, and starts exploring her own identity. As an ace, this is the best story about asexuality that I've read. It was a nuanced look at asexuality and queerness and all the variations. Chika's journey and how she found her community was moving and poignant. It's a honest, moving look at relationships and identity, and how complicated and hard to define both of those things can be. I loved the moments of Chika imagining herself as an alien to explore and cope, and how she bonded with people through magical girl shows and other geekery. My favorite new manga of the year, it really connected with me!

The Girl that Can’t Get a Girlfriend by Mieri Hiranishi

Oh girl, I've been there. This is a fun autobiographical comic about a butch4butch lesbian's struggles finding a partner in a word that favors butch/femme, and it's just an honest look at the messiness of loneliness and relationships. I also appreciate that crushing on Haruka in Sailor Moon and becoming a HaruMichi stan was the beginning the author's queer awakening because uh...same! She has taste, and is truly relatable.

Qualia the Purple: The Complete Manga Collection by Hisamitsu Ueo and Shirou Tsunashima

See my review of the light novel here for my general thoughts on the story, since it's adapted pretty faithfully. I do think the manga is overall the best experience though, because the illustrations break up the detailed explanations of quantum mechanics a bit, and it includes a bit of extra content that fleshes things out, especially withthe ending.

The Single Life: 60 year old lesbian who is single and living alone by Akiko Morishima

Just like it says on the tin, this focuses on a 60-year-old single lesbian. And definitely the shortest thing on here, since only one 30 page chapter is out.  It's a grounded story about a woman looking back on her journey to finding her identity, touching on sexism in the workplace and other challenges. It paints a portrait of a proudly gay elder who's still perfectly content being single and feels fulfilled by the life she had rather than regretting past relationships. I definitely want to see more.

Daemons of the Shadow Realm by Hiromu Arakawa

Arakawa's latest, the story is about a boy who lives in a small village with his little sister is imprisoned and has to carry out a mysterious duty...but then the village is attacked, supernatural daemons awaken, and everything he knows might be wrong. I'm enjoying this fun romp so far! It delivers an really nice plot twist right out the gate (and an excellent subversion of the usual shonen "must-protect-my-saintly-sister" narratives). It boasts Arakawa's usual fun cast and interesting world (and cool ladies). There's some slight tone and pacing issues in the first part- there's so much time spent explaining mechanics the lead doesn't really get to react to his life turning upside down. But it starts smoothing out by the second volume. I'm excited to see what's next!

Superman: Space Age by Mark Russell and Michael Allred

This is a retelling of Superman set throughout the late fifties to early eighties that has Superman interact with the political and social upheaval of the time and question his own role in things. It explored the Superman mythos through a lot of cool new angles, and has a good Lois (why yes she would break Watergate) which is how I always measure a Superman adaptation. My one complaint is, while I liked some of the things it did with Batman, the ending with the Joker was pretty weak. The ending of the overall comic will also be bizarre for anyone not uses to how weird comics can get, but I think I dug it.

#DRCL by Shin'ichi Sakamoto

A manga retelling of Dracula that focuses on Mina as the protagonist and imagines the characters at an English prep school. It adds a lot of  diversity to the characters  and has exquisite, evocative art. I'm curious where it will go and what it  intends to do with all it's changes (especially Lucy), because right now it's mostly vibes and creepiness and the direction isn't clear.

[steelajeeg]

Finally got around to cleaning and rearranging the bordeaux crate shelves. A mix of books and tchotchkes from both of us.

This originally started as an overflow shelf, but now we use it for a colorful room divider.

A wildly eclectic mix of stuff here. Most of it waiting for a bigger space to transfer over.

Of note - a full run of one of the many horrible US print releases of Dragon Ball.

A masterpiece of fairytale action and comedy adventure - but almost every US release is majorly flawed. This version has name changes, poorly rewritten dialogue, inconsistent censorship, and horrendous print quality.

I'm lucky to have a full Japanese run in the other room - some of which are first printings.

[And here's the Instagram link for this post - but keep in mind it's on my personal account this time - so there's not as much fun stuff on there]

[goblins-riddles-or-frocks]

Deathless Thoughts:

I only read this book in full once in 2017 and have only really paged through it a lot since. I definitely found it much more deliberate and thematically coherent this time around. I remember initially feeling like the surrealism and constant jumps ahead were disjointed but it reads very cohesively to me now. I’m very curious if that will continue past the latter 50% which I haven’t reread yet. I remember starkly disliking that portion and I have no idea if I’ll feel similarly this time around— because I already enjoyed the second act much more on reread and acknowledged its purpose, when up until now I did not lol

My initial thoughts were that the fantasy elements were too surreal to care about and that the relationship was too much of a nothing, with too little not unpleasant screen time to justify its centrality to the plot. But having read more classic surrealist Russian lit has familiarized me to the former and makes me actually understand what it’s going for. And for the latter I think I’m just more onboard with unpleasantness and abuse being the point. So currently, my perspective is almost wholly positive.

I enjoy the book’s use of its subject material— fairytales set in actual history— as many many metaphors. First folktales and fantasy specifically in the Soviet era, so rife with censorship, as a vehicle for allegory, their use and importance in literature itself being a motif. Then the metaphor for inexorable class hierarchies and unchangeable power structures before and after the revolution, the way only the branding changed, but the power structures remained. And also, most pervasively, as a way to examine gender roles and gendered loss of agency; the politics of a marriage.

I really liked the way the novel built up Koschei and how everything is about Marya’s relationship with Koschei (her relationship with agency and the lack thereof) even when he’s fairly infrequently on screen. From her sister’s bird husbands in the opening, and child Marya’s musing on the potential transformative nature of marriage— but also the inherently unequal power dynamic and resolving that she will do/be better because she knows more than they did. To the metaphor of her thinking that a secret will treat her well and then later the line where the personified secret is then likened to a husband who will be her ruin. Even that when Koschei finally shows up to take her away it’s compared to being taken away by the revolutionary government/the police.

Marya is herself highlighted for her knowledge and her desire for it. Specifically the ability to see discrepancies in the stories she is told whether that is the magical or ideological and political. The sisters in the opening marry into seemingly static unmoving snapshots of history. Meanwhile Marya’s singled out in her precociousness and open admittance of there being anything completely beyond the ideologies presented by each suitor in his human form [the power structure of the Tsarist state, and the Soviet Union]. She’s defined by wanting to see beyond dichotomies and limited scopes of propaganda. She sees it as a skill, and it is, but it’s also something that singles her out for misery, both by her peers (the scarf incident) and by the likes of Koschei who is specifically drawn to willfulness and a lack of adherence to a particular role with the intent of breaking that will.

The entire seduction segment that is turning all the food and her illness into an erotic power exchange is also just explicitly about breaking her will, and fostering perfect obedience and dependence on him. It’s also really interesting that, in going with him, she does somewhat lucidly give up and trade away her agency/ability to dictate a story/her own perspective in exchange for being physically well cared for. (But then even that is very thorny and with many strings attached)

So by part two, she is stuck in the dichotomy of “who is to rule” and either she can be a Yelena/Vasalisa or a soon-to-be Baba Yaga. Yet, either way, she is never good enough and it is still inevitably an exploitative and draining situation.

Marya being successful in her willingness to do degrading and cruel things to earn Baba Yaga’s blessing and Koschei’s favor being punctuated by all her friends— who without which she would never have succeeded at all— dying horribly illustrates that so well. In her success she is only further isolated. She will never repay their help, because being Tsaritsa of Buyan, and having any sort of power, is inherently antithetical to that.

The emphasis on Lebedeva’s girlboss magic makeup and the passage about Marya being told that girls must care only for vapid, pretty things, among other moments, might feel extremely dated. But I do think they’re intended to be employed in a way where traditional femininity presents a sort of deliberate and acknowledged safety? And it goes hand in hand with Marya, while never choosing to be a “Yelena” in traditional soft femininity, does end up choosing to try to leverage soft power and soft manipulation within deliberately gendered terms fairly often. But again it’s just presented from a very dated and particular context.

So far, the sheer dedication of the book to being an explicit Bluebeard tale and a story about abuse, and how there is no winning in that sort of relationship has been very fun for me.

I also enjoyed Koschei outright lying about the Yelenas and Vasalisas— and then later about the location of his death. I think that’s a character type you usually expect to deceive via omission but, no, he just outright lies a lot.

Another example is that Widow Likho’s book makes it clear that humans best enter into Buyan when ill, and meanwhile everything Koschei does is of course explicitly a repetition of previous stories. So it’s practically confirmed that he had taken every Yelena etc on that same long trip and made them ill on purpose. Even though in the moment he claims to be surprised by it, and spontaneous in caring for her through her illness.

Or the suggestion that he found a reason to put all the other girls in the stable when they got to Buyan as punishment for disobeying him. That the point is the punishment and breaking of the will rather than there being any sort of standard the bride could realistically meet where he would be happy with her and welcome her to her new home without that initial humiliation and fear.

It’s also incredibly funny and refreshing that this book buys into Koschei’s nonsense way less than any of its subsequent imitators. (The Grisha trilogy included!) I enjoyed Baba Yaga being like “Why is everything black, stop being dramatic 🙄”

He’s barely present in the book at all. His page count is truly negligible! And it’s great!

Like I mention earlier, that was actually something I was annoyed by on my first read, the relationship just seemed fairly thin, even though the snapshots of it that we get are fascinating. But after being inundated with so many books worshipping the ground love interests like him stand on, I love how much he doesn’t fucking matter and how little page time he has. How that itself allows Marya’s emotions and conflicted feelings to remain central. The narrative doesn’t care about him, it’s only what impact he has on her that’s relevant.

Anyway somewhat superficial but I really enjoy the goth love interest being the Tsar of Life, because authors typically go a more obvious and melodramatic route. Despite all of the goth mystique, him not being associated with death, darkness, night, etc was refreshing. But also I do generally just find the concept of life being equated with the lurid and demanding, the parasitical, something that is always in a personal sense at war with death— aka the mention of him always looking sickly or feeling skeletal initially when he kisses Marya— a compelling one. It’s death and the maiden wrapped up in a single person essentially.

Anyway I also appreciated the parallel of the Yelenas being trapped in eternity weaving soldiers while Marya’s first thought upon seeing Koschei is that if she had knitted herself a perfect lover he would look like that. There is the constant underpinning of Marya being wholly separate from them, the question of whether she is greater or more horrible than them, but at the heart of it she’s really not. She’s just another victim in a long string of them.

[aroaceweirdos101]

Since Arz has been posting about her OC's, why dont I show one of mine!

"Need to know your way through the library? Just ask our lovely librarian assistant, Linda! She knows this building like the back of her hand(especially because its her favourite place in town!)."

(sorry if this looks rushed, I'm not that good at drawing)

In the show:

She was a background-turned-side character that would appear in a few episodes, acting as a guide for the Handeemen if they need to find a specific book.

They even have their own segment called 'Linda's storytime', where she reads popular fairytales(with the Handeemen interupting them from time to time as a li'l gag). She is mostly seen around the library.

Outside of the show:

They're based off Avery(Arz's OC)'s late close friend, who used to work at the town's local Library. Avery wanted to make something to remember them by, and thus, Linda Literature was created!

Relationships with the Handeemen(Show counterparts):

- Rosco: She was at first scared of the giant pup, due to him being larger then the average golden retriever. But they slowly warmed up to him after Riley showed how harmless Rosco is.

Rosco(like how he is with everyone else) is pretty friendly with Linda, he tried to be a lap dog while she was doing her storytime segment and almost sufficated her, Don't worry, Riley managed to help them in time(Rosco also gave her a lick in the face as an apology).

- Riley: She is close friends with the scientist, as Riley is a regular visitor there. Linda would often try and make small talk with her, they find her use of scientific words 'charming'(rumor has it that she has a small crush on the scientist). Riley is one of the few people who returns the library books in a clean state, Linda appreciates this alot.

Riley sees her as a good friend, Linda is one of the few people she doesn't mind having small talk with(they're dynamic is basically the "He asked for no pickles" meme).

- Nick: Linda looks up to Nick as she is inspired by his poetry skills, they hope to one day be as good as him in writing things(she also has a small crush on him too). Although, they do wish he returns the library books with less finger paints on them.

Nick thinks of her as a great friend, he's glad to finally have someone who wilingly listens to his poems, and properly listens to them(no offense Duke, but you might need to work on your focus more).

- Daisy: The two are good friends, Linda enjoys talking to her, but she also prefers the baker to return the library books withought any flour or other baking stains that somehow got stuck in the pages(atleast she gives them freshly baked pies as an apology).

Daisy invited Linda to join her book club as they needed more members, although, its more of a gossip group really(Daisy is also the only one who knows about Linda's small crush on both Riley and Nick).

- Mortimer: While the two aren't close, they do bond over their shared love for reading. Linda likes how expresive Mortimer is when he's telling a story, it makes storytime alot more entertaining. She's also thankful that he returns the library books withought any stains. Safe to say she has high respect for the old man.

Mortimer is pleased to have another reading buddy, as much as he enjoys Daisy's book club, there was just SO much tea that even he couldn't handle it.

- They have an emotional support, Chilean Rose Tarantula named; Rosey. Fun fact: The show used an actual real life tarantula, due to Owen's huge obsession with accurancy and detail, tho this also led to the infamous missing spider incident(they still have no clue where it went).

More Info about them:

- She knew Riley back in Highschool, before they both moved to different colleges, they reunited after Linda's first few days of working at the library.

- Originally, Linda's pronoun's were They/Them, but due to the fact that it was the 80s, it was changed to She/They to avoid censorship(unfortunetly the show could only used the 'She' pronoun to adress them, curse you transphobes!).

- She is constantly anxious due to her OCD(which explains why they're always seen reorganizing the books and checking if the backdoor is lock for the 28th time).

(P.S. Do tell me if my writing on her OCD is incorrect, I dont want to accidentally misinterpret/mischaracterized people who have the disorder)

Feel free to ask questions about her!

[whatthecrowtold]

#unhallowedarts - "But a Mermaid has no Tears" - On Andersen's Byronic Melancholies

Harry Clarke "The Little Mermaid" (1916)

“Never had she danced so beautifully; the sharp knives cut her feet, but she did not feel it, for the pain in her heart was far greater.” (Hans Christian Andersen)

There is probably a moment, when every young one with a Romantic streak felt kinship with Lord Byron. As soon as “The Corsair” or “Manfred” is opened. “Oblivion—self-oblivion! Can ye not wring from out the hidden realms Ye offer so profusely—what I ask? - It is not in our essence, in our skill; But—thou may'st die.“ We all had the measles and we had Byron. Ever since his lordship laid down his life for liberty and drama in Missolonghi, Hiera Polis, back in 1824. But Andersen? Hans Christian Andersen, teller of enchanting fairy tales, beloved by old and young across the globe? “Read Byron's biography, oh! he was just like me, even down to his little tattling;“, Andersen wrote himself, “my soul is ambitious like his, it can only feel happy when admired by all“ – he was 20 by then and obviously had a case of “Byron” more severe than the measles.

Harry Clarke "The Elf Hill" (1916)

And as difficult as it may be to align the heart-broken, melancholic, Byron-reading young Dane with Hans Christian Andersen in the guise of Danny Kaye singing the theme song of Charles Vidor’s movie from 1952 and the image of bedtime stories for the little ones – his tales are, by and large, positively dark. And while Byron had the means, the mind and the mettle to act out many of his imaginations and become his own Rock star myth, Andersen’s demons remained firmly fastened to his imagination and wishful thinking and came to light only clothed in quite harmless mannerisms and in the guise of his tales, dressed up in fairytale-like garb, more often than not. Up to the point that Andersen never engaged in physical relationships with other human beings, neither men nor women, even though there were love letters written to male friends and rejected marriage proposals, courtships and mentally intimate friendships with the female of the species, most notably the back then immensely famous Swedish opera singer Jenny Lind. She saw the eccentric poet as something of a brother, inspired him to write at least three of his fairy tales and thereby become the author of her household name “The Swedish Nightingale” and maybe she even became the role model of the Snow Queen who plays cruel games with poor Kay’s impaled heart.

Harry Clarke "The Snow Queen" (1916)

But then, the idea of fairy tales being stories for children, is relatively new. Back in the day, when those Europeans downtrodden by the major players of the Age of Empires felt the need the need to preserve their identity in heroic epics and old folk tales, those narratives were a highly political affair. And even before the Brothers Grimm began their epic quest of collecting and writing down folktales in the German states, exemplary for others who gathered the archetypical variants told from Dingle Bay to the Ural and beyond, Romantics began to write their own fairy tales.

Harry Clarke "The Butterfly" (1916)

There are classical antecedents, Aesop and Apuleius, to name but two and Charles Perrault, who introduced folk tales into the official literary canon already in the 1600s, but the tradition of composing Kunstmärchen, literary fairy tales, began in earnest with the dawn of the Romantic Age in Germany. Tieck, Novalis, Chamisso, de la Motte Fouquè and, most prominently, E.T.A. Hoffmann formed a trend, followed up by other romantically moved minds such as Charles Nodier. During the repressive atmosphere and censorship of European Restauration’s Congress System after the wars ended in 1815, literary fairy tales often were writers’ vanishing point as well, instinctively and romantically, Wilhelm Hauff’s and Hans Christian Andersen’s, who came up with some rather ambiguous “once upon a time”-stories under the influence of Shakespeare, Walter Scott and Lord Byron. Who, promethically instigated to rebellion and lead by example anyway.

Harry Clarke "The Nightingale" (1916)

There is more to Hans Christian Andersen than literary fairy tales. He wanted to become a dancer at first, then an actor, struggling with his humble origins as son of a cobbler and an alcoholic washerwoman from Odense, an ugly duckling indeed, with barely an education to speak of, who had dreams of becoming a swan one day. He thirsted for baking in the limelight and he did, finally, after discovering his knack for storytelling in his late teens. Initially, he was at least as successful with novels, poems and travelogues as he was with his fairy tales and he found his patrons, his niche as something of a curiosity among the better classes of Denmark and his fame as an author already during his life and times. But his fairy tales stand out. As literary treatments and dreamwork, processing his many fears and imagined shortcomings as well as his wishful thinking into artificial archetypes firmly enshrined in Western thinking, from the lesson taught by the cheeky nipper in “The Emperor’s New Cloths”, the grimly poetic fate of the “Little Mermaid” and the sheer beauty of “Thumbelina” appealing to everyone’s inner child, young and old. “His own image; no longer a dark, grey bird, ugly and disagreeable to look at, but a graceful and beautiful swan. To be born in a duck's nest, in a farmyard, is of no consequence to a bird, if it is hatched from a swan's egg” and even if Andersen himself made himself believe that he was something of an illegitimate grandson of a Danish king along with other bloomers from the neurotic's family romance, he became a swan indeed, graceful and beautiful, whose song is sung in more than 125 languages across the globe.

Harry Clarke "The Hindu Maid" (1916)

Harry Clarke's full set of illustrations for Hans Christian Andersen's fairy tales from the 1916 edition, including the downright psychedelic colour plates can be wondered and marvelled at here:

[saintofdaggers]

semi-regular genuinely disturbing* book rec list

*check tw lists on StoryGraph, read at your own discretion, etc. also you might find some of these tame depending on your tolerance levels, but they do all have some kind of graphic or taboo content.

Poppy Z. Brite: Wormwood - short stories about goths and freaks and outcasts. they're all sensual, horrifying and beautifully written with macabre, vivid imagery. a personal favorite <3

John Skipp, Craig Spector: The Scream - still reading this one, but it's VERY fun, a classic splatterpunk novel about a rising rock band whose sinister shock rock acts go way beyond the stage. has some interesting commentary on religious fundamentalism, moral panics and music censorship, and the prose is really good, if a little corny in places

Daniel H. Gower: The Orpheus Process - this book is batshit insane and horribly written. it is, however, one of the funniest goddamn things I've ever read, and the nightmare imagery is so over-the-top that it keeps veering wildly between ridiculous and genuinely horrifying. it melted my brain. I think this is the closest we'll ever get to someone actually writing the Necronomicon

Cassandra Khaw: The Salt Grows Heavy - this is a very recently published fairytale retelling, but it's gorgeously written with genuinely artistic prose, it's an interesting angle to take with the fairytale it's built on, and the gore/medical horror is excellent.

Borderlands (edited by Thomas F. Monteleone) - read this one a while ago, but it's basically an anthology aimed to collect cutting-edge stories that went way beyond the cliches and recycled tropes plaguing paperback horror publishing at the time. this collection was a little hit and miss for me, but some stories are genuinely great and they're all fairly out there.

Bret Easton Ellis: American Psycho - but of course. I think the movie is much better as satire and the book is much better as horror, but let's just say even I winced a few times as I read this. at least when I wasn't cracking up

Otsuichi: Goth - oh I love this one. two death-obsessed teenagers keep running into serial killers and trying to understand them. it's nasty, bleak and a really, really good read (it almost broke me with a certain horrifying image on my first read, but I'm glad I decided to finish it)

Ryu Murakami: Piercing - I remember someone asking me once what I was reading and I handed him the book so he could read the blurb. when he reached a certain sentence, his eyes just kinda widened and his general assumptions of my sanity were visibly reevaluated. that's how you know this one is good

J. G. Ballard: High-Rise - less graphic than the others on this list, but more skin-crawling, imo. a filthy rich highrise apartment complex starts breaking down from poor design and antagonistic neighbor relationships, throwing the inhabitants into worse and worse chaos until they start genuinely cracking. this book is so gross. I say that with love

Splatterpunks II: Over the Edge - still reading this one too, but I think it's worth checking out to see how you'll like it (I couldn't find the original Splatterpunks anthology in the library, but this collection was stated by the editor to be more diverse and progressive than the first, and that already made it interesting enough to me to pick up). Kathe Koja, Poppy Z. Brite, Clive Barker, Karl Edward Wagner. you know you're in good hands here.

[patdroid]

I… I believe that I have made two more OCs for The Amazing Digital Circus… And I’m about to show them both to you!

Here’s Cracker

The one-armed, fake-handed nutcracker who was once a human.

Age: 27

Gender: Demiboy; uses he/they pronouns

Orientation: Biromantic and asexual

Favorite Food: Fruitcake

Why Did He Join the Circus?: Back when he was a human, he was dared to try out a VR game around Christmastime and…it’s no doubt that they did it, but at the cost of joining the circus.

Languages Spoken: English and Russian

Anyone He Would Prank if Caine let Them?: Not really, though he does like to bite Jax.

Relationships: They dislike Jax, ignores Zooble, Kinger, and Fishie, is creeped out by Caine and Bubble, internally ships Pomni and Ragatha together, genuinely helps Gangle out whenever he can, and is in a relationship with…another character.

Fun Fact: They’re based off of a real Christmas ornament that I have…which actually has a missing arm and a hand that can come off at will.

How does he move?: He walks around normally, but if he ever starts to lose balance, he can use their nutcracker staff to catch themself.

How’d they get their name?: He named themself Cracker on sheer accident because, just before he entered the circus, they had finished up some crackers.

And let’s not forget about…

Glasie

A glass ballerina with a fully see-through body and only has one skirt that isn’t made of glass. She was also previously a human.

Age: 29

Gender: Female; uses she/her pronouns

Orientation: Omniromantic and asexual

Favorite Food: Candy Canes

Why Did She Join the Circus?: She got pranked by her human friends.

Languages Spoken: French and English, though she’s still learning English

Anyone She Would Prank if Caine let Her?: She’d try to prank Caine himself by beating the censors by saying stuff in her native language…but since Caine is an AI, her plan would fail miserably.

Relationships: Hates Jax, ignores Zooble and Kinger, is actively trying to win at Caine’s censorship game, is buddies with Gangle, Pomni, and Ragatha, is creeped out by Bubble, is besties with Fishie, and is in a relationship with Cracker.

Fun Fact: She is based on an actual Christmas ornament that looks almost similar to her; only the ornament is in a ballerina pose.

How does she move?: Since the type of glass she is made from is only frozen when it’s cold, she can move around normally. If it is cold, she will hop around in whatever position she has gotten herself into. And if she somehow ends up in multiple pieces, she can get all of them to hop around until Fishie can put her back together during her next fire show.

How’d she get her name?: Caine gave it to her, siting that he liked the name Gracie, but gave it a glass pun. Glasie hated it at first, but she grew to not mind it.

And there’s one fact that they both share…

Cracker and Glacie both arrived in the circus on the exact same day and at the exact same time! That means that when they both arrived, they were more confused about someone else being right next to them and NOT about where they were.

(Also, they’re heavily based on the fairytale of The Steadfast Tin Soldier, only with some major differences, as one can tell by their designs.)

[mikumutual]

every time someone covers the fairytale of new york, they censor the f-slur by either repeating the rhyme "maggot", or replacing it with "carrot". for some reason. despite the fact that the much better censorship, "you're cheap and you're haggard", can be found on the wikipedia article for the song

[adarkrainbow]

A reminder about French literary fairytales - those of the late 17th to late 18th century. Perrault, and d’Aulnoy, and the rest.

Something that might be omitted when talking about these tales, because it isn’t well-known outside of France apparently, while in France it is so obvious we don’t tend to mention it: these fairytales were written in a time when literary censorship was in full effect. 

There were things that could not be written or published during this era of the monarchy ; and the king’s men kept an eye on the world of books, novels, poems and theater ; and one could be sent to prison if their texts ever reached the wrong ears or the wrong eyes. 

Just a little historical context reminder. 

[morebedsidebooks]

September 2023

Guardian: Zhen Hun by Priest came out so close to the end of August I didn’t have it till well into September. A mysterious Chinese fantasy series around the head of special investigation unit tasked with unusual cases and an enigmatic university professor it was the basis for a popular (and persevering under censorship challenges) live-action series in 2018. So as Seven Seas continues to bring over Danmei novels in English, this is another series readers can finally enjoy the source material in official translation. I may review it eventually, but I’m going to be very busy these next few months.

Read for September:

12 Autumnal Reads with Pan Rep

A Girl Called Eel by Ali Zamir

An African in Greenland by Tété-Michel Kpomassie

The Bride of Amman by Fadi Zaghmout

The Desert and the Drum by Mbarek Ould Beyrouk

Fairytales for Lost Children by Diriye Osman

[sirenofthegreenbanks]

8 and 17 of the weird writers questions!

8. If you had to write an entire story without either action or dialogue, which would you choose and how would it go?

my secret super weapon is that im incredibly good at rambling!!! monologues and internal narrations are my forte! and i love stories that tell things a little bit different that your usual conventional story. assuming by „no-action“ this question is talking about characters (choice of) action, not physical combat, basically anything that is not internal narrative, i would choose this if i wanted to challenge myself a bit. in the end, it is a little difficult to string a whole, cohesive story together that is not boring without characters doing smth tangible. i would choose no-dialogue if i wanted to explore dreamy, whismical, introspective storytelling (which i love!!!!) like in fairytales. the fairytales i grew up with have very or even no dialogue, and instead rhymes and poetic prose. both are good!

17. Talk to me about the minutiae of your current WIP. Tell me about the lore, the history, the detail, the things that won’t make it in the text

im not going to talk about the details of the WIP itself. i feel these things are very private, its not yet published and i want to keep it close to my chest a little longer. but im going to talk about what it means to me, writing this WIP.

so, basically, my family has a very personal relationship with dictatorship, propaganda, freedom of speech (and thought), silence (and the violence therein), unresolved trauma, and war. thus, im having lots of feelings for tyk that are stemming directly from this. my dad (not my real dad, but more a real dad than my actual dad) was a prisoner of war and a revolutionary, and we have reason to believe he still worked in the underground network even after his escape from the regime. my parents (all three, including my actual dad) are immigrants and refugees, my grandparents escaped the regime when it was still active, my grandpa experienced smth very similar to what zhang zhehan is going through, only as an official government-statuated example and without social media terror and identity fraud. as someone who grew up in the so called "nachwende" (after the fall of the berlin wall) generation, i can only imagine what it must have been like. tyk, to me, speaks about many of these things, and doing it in such a way i can stomach (but barely!!!). as a novel from a mainland chinese author, it was created in the context of censorship in a country that is keeping its citizen under tight wraps in a state of intentional illusion, dependence, anxiety, and normalized constant surveillance. here, too, i can only try to imagine what it must be like. now, it is debatable how much of what priest does (in both tyk and qiye) can be counted as "regime resitant" beyond the fact that its danmei, and i wouldnt be the right person to answer this question either; everything i know is researched, rather than lived. but i do think it has merit (is important, even) to be conscious of the wider context the text was created in, to be aware of it, as a fic writer. i know many fics rather "escape" and focus on positive things. i dont condemn not being political, everyone can do as they like. but unfortunately, im not like them. (im different. im other. do u see this stupid hat?)

not all my WIPs are like this (fortunately!!! i do need to relax!!!!) but this one is. im pretty sure its the love child of my own family's frustrating habit of not talking about the things that are important (i recently learned my grandma grew up door-to-door with a KZ, in the sense of "seeing KZ-prisoners bypassing her garden in a long trail" as a regular day-to-day occurence, and she never mentioned it ever, and i only learned of it because my grandpa shared it off-handedly but was immediately hushed back into silence), and my own habit of not talking about stuff i should talk about, probs. sometimes feelings are too big! experienes are too heavy! and ive always been better at finding answers in stories than in real life. so. this WIP!

im sorry, thats probably not the answer u thought u would get when seleccting this question! thank you for dropping into my inbox though <3 i still have your other ask and im staring at it everytime i open my inbox, feeling extremely guilty and happy at the same time

ask me weird writers questions!

[ancient-healer]

[isyancialtan]

((My reblog of a (PERFECTLY INNOCENT) post just got flagged for having “adult content” and the only possible explanations are

1) ABI’s arms in a tank top are Just Too Scandalous

2) I tagged it Sarp x Jessie

but uhhh...in other words, how do you appeal a flagged post IF IT WON’T SHOW UP IN YOUR FLAGGED POSTS?!?!?!))