#if a writer / book isn’t here most likely is because i have seen it recommended on the internet

[henry-fox-biggest-stan]

Some more obscure and / or underrated lesbian literature : An incomplete list made by a lesbian in hopes of making other sapphics happy

(I haven’t read all of them)

Sorted by years (this rapidly became a history lesson of lesbian literature sorry I’m a nerd)

Ancient times

(A good article about lesbians in ancient greece / rome)

Queen Zhuang Jiang 庄姜 (???- BC 690) / We know about Sappho and Enheduanna, but what about her? She wrote poems some of which were, uh, pretty gay. I learnt about her here. It is said than her poems are in The Book of Songs (which is a collection of ancient Chinese poetry). I couldn’t find a lot about her but I found enough to believe than (hopefully) she was a real person and the internet isn't lying to me.

Dialogues of the courtesans - Lucian of Samosata (somewhere in the second century BC) / Basically Dialogues of the courtesans is a collection of dialogues between well, courtesans (prostitutes). Either between themselves or between clients. One of the dialogues is called “The Lesbians”. Link to read (somehow finding a pdf of Dialogues of the courtesans is pretty hard but reading it chapter by chapter online it’s not??)

The Babyloniaka - Iamblichus (somewhere in the second century AC) / Lost novel, so all you need to know is here

Of course we can’t forget this Pompeii poem

1200s

Bieiris de Romans (somewhere in the first half of the 1200s) / Bieiris was a French poet, and we only have one of her poems with us because the others have been lost. We don’t know much (anything) about her, except that she was a woman, French, and who wrote about a woman called Maria. Some say that this mysterious Maria referred to the Virgin Mary, others than Maria was her gf, and others than she was writing in the perspective of a man (because obviously a woman writing about other women in a not so platonic way is unthinkable). Anyway, feel free to get your own conclusions, here’s the poem (translated)

1500s

The Sword and the Pen: Women, Politics, and Poetry in Sixteenth-Century Siena - Konrad Eisenbichler / So while this is a modern book, it is the only one I’ve been able to find than includes Laudomia Forteguerri’s poems (1515-1555). Some historians considered her to be the earliest Italian lesbian writer. “Although only six of her sonnets have survived, all are testaments to the love she bore for other women, and five are specifically dedicated to Margaret of Austria.��

The Maitland Quarto / Manuscript (1586) / So, this is a collection of 95 scot poems, and poem 49 is pretty sapphic. It’s technically anonymous, but it has been attributed to Marie Maitland (who transcripted the manuscript and is thought to have added her own poems there). The last lines mean “'There is more constancy in our sex / Than ever among men has been”, I haven’t been able to translate the rest of it. The poem.

1600s

The Flower's Shadow Behind the Curtain - Ko Lien Hua Ying (somewhere in the 1600s) / It is said this book was written towards the end of the Ming dynasty (1368 to 1644). It’s a erotic book, and chapter 22 includes an erotic story between two 16 year old girls. I found it in Sex in China: Studies in Sexology in Chinese Culture by Fang Fu Ruan (believe it or not, I don’t just randomly know all this books, I did research)

Aphra Behn (1640-1689) / English writer, one of the first female writers to live through her writing. She was also a spy. She wrote a lot about women. “Homoeroticism is standard in Behn's verse, either in descriptions such as these of male to male relationships or in depictions of her own attractions to women. Behn was married and widowed early, and as a mature woman her primary publicly acknowledged relationship was with a gay male, John Hoyle, himself the subject of much scandal.” (here). She wrote a lesbian love poem (in the link before, it also makes an analysis of it). The poem: To The Fair Clarinda

Poems, Protest, and a Dream: Selected Writings - Juana Inés De la Cruz (1648-1695) / So the thing about Juana is than every single spanish-speaking lesbian knows her (and loves her), but hardly anyone who doesn’t speak spanish has ever heard of her, which is a shame, because she’s an absolute icon. She was a Mexican nun who was also incredibly gay. You know how Sappho is called the tenth muse? Juana is also called the (mexican) tenth muse. She’s also called the phoenix of America, which is incredibly badass. She learnt how to read at 3 years old, at 8, she asked her mother to send her to college dressed as a man (her mother refused). She learnt and studied by her own, because she wanted to learn. She studied by cutting her hair (if she got something wrong or forgot something, she cut a strand of her hair as a punishment) because she said that “a head adorned with hair is worthless if it’s a head naked of ideas”. When she was sixteen (important to note than she already spoke Latin fluently at 12, having mastered it in just a few lessons) the archbishop Payo Enríquez de Rivera heard of her, and decided to ask her to be the company lady of his wife (his wife and her eventually would have a relationship) and decided to test her intelligence. He got 40 (!!!) university profesor of all subjects, and they all asked her questions related to maths, literature, philosophy, etc. She answered all of them right. At around 21, she decided to become a nun (not out of faith, but because it was either becoming a nun and being able to continue her education, or marrying a man and stop studying. To her, the choice was clear). Also it is said she owned around 4000 books in her personal library. So yeah, an educated, extremely intelligent gal, who wrote lesbian love poems to her gf, and who was definitely not afraid to stand up for herself.

1700s

The Game of Flats - Nicholas Rowe? (1715) / Poem, “game of flats” was an 18th century slang for lesbian sex. Link to read <- that website includes lots of 18th century queer history and poems like this one

The Sappho-an - Anonymous (1735 or 1749) / When I first heard of this I couldn’t believe it. It sounds like an AO3 fanfic, or some modern erotic book (one of those than have a real person in the cover), or maybe a forgotten 1970s lesbian book. It’s none of that. It’s an anonymous poem written in the 1700s. The plot? The goddesses of Olympus are sexually unsatisfied because the gods keep on going after mortals (except Ares, he’s just too busy with war) instead of paying attention to them. The gods keep going after woman and male mortals, so Hera just says yknow what if they can sleep with men then we can sleep with each other. Sappho also appears. Link to read.

Fanny Hill, Memoirs of a Woman of Pleasure - John Cleland (1742) / Ok fine, this one is not sapphic but the main character (female) does have sex with a woman at one point. This is basically an erotic novel. Very dirty (specially for the time period) and very banned in lots of places. The main character is Fanny, a prostitute. It includes lots of straight sex, some gay (mlm) sex, and two pages where Fanny describes in detail having sex with Phoebe, bisexual prostitute. Not sapphic, but thought it was worth mentioning.

1810s

Christabel - Samuel Taylor Coleridge (1816) / So, have you heard of Carmilla (1872)? If you’re reading this post, you probably have, if you haven’t, it’s a classic (vampire) book than is said to have inspired Bram Stoker to write Dracula. It’s also incredibly gay. Well, some say it was Christabel than was the inspiration for Carmilla. Of course we don’t know this for sure, but the similarities definitely are there. Review from a reader: “what if we were the protagonist and villain of a never-completed sensual gothic poem (and we were both girls) / alternately: when you meet a wickedhot girl only she's SPOOKY but that's SEXY and turns out your dad and her dad were also gay back in the day before having a sexy gay falling-out and she's like 'babe let's get naked and hold each other close' and you're like '—wait fuck I mean uhhhh I PRETEND I DO NOT SEE IT!'” I haven’t read this one, however for what it seems Christabel is not explicitly a vampire. Since the poem is unfinished we don’t know the end, and we just think she’s a vampire because so many things used in here were also reused for vampires characterization (like not being able to enter a house unless invited)

1830s

Mademoiselle de Maupin - Théophile Gautier (1835) / “A woman uses her incredible beauty to captivate both d'Albert, a young poet, and disguised as a man, his mistress, Rosette. In this shocking tale of sexual deception, Gautier draws readers into the bedrooms and boudoirs of a French château in a compelling exploration of desire and sexual intrigue, and gives voice to a longing which is larger in scope, namely, the wish for completeness in oneself.”

1870s

Mademoiselle Giraud, My Wife - Adolphe Belot (1870) / “The sensational Mademoiselle Giraud, My Wife tells of the suffering of a naive young man whose new bride will not agree to consummate the marriage. Eventually he learns from an acquaintance, to his amazement, that their wives are lovers.” In reviews it says than this is a homophobic novel (who’s surprised) but “Christopher Rivers argues in his introduction that the protagonist's homophobic attitude toward lesbianism is ironically linked to his intimate homosocial bonds with men”

1880s

Jill - Amy Dillwyn (1884) / “Jill is the story of an unconventional heroine—a gentlewoman who disguises herself as a maid and runs away to London in search of adventure after her mother dies and her father is pursued by a Victorian gold-digger. Once in London she uses her position as lady's maid to become close to her mistress. Her life above and below stairs is portrayed with irreverent wit in this fast-paced story, but at the centre of the novel is Jill's unfolding love for the woman she works for. On the surface a feminist manifesto, Jill is a poignant story of same-sex desire and unrequited love. A new introduction tells the autobiographical story on which the novel is based —the author's own passionate attachment to a woman she called her wife, but who she couldn't have.”

Mephistophela - Catulle Mendès (1889) / “Telling the story of Baronne Sophor d'Hermelinge, a woman as thoroughly martyrized by her creator as any other heroine in the history of fiction, in spite of the enormous competition for that title established by countless writers, male and female, it is one of the archetypal novels of the Decadent Movement, and one of the most striking, precisely because is it such a discomfiting piece of writing, the deliberately controversial nature of which has been further enhanced as its surrounding social context has changed over time. Highly influential, especially on the works of such writers as Jean Lorrain and Renée Vivien, Mephistophela, in placing lesbian amour in the foreground of the story, deals forthrightly and intensively with a literary theme that had previously only been treated with delicacy and indecision, mostly in poetry. It is essentially a horror story about demonic possession, about contrived and cruel damnation, devoid even of a Faustian pact, which merely employs obsessive lesbian desire as an instrument of damnation.” Goodreads review: “As a story it is quite straightforward. Girl has same-sex desires and the novel follows her various affairs up to about the age of thirty. […] More controversially, Stableford (and the books blurb) suggests that it is a novel of demonic possession. Now Brian has probably forgotten more than I will ever learn about the period but a few of the episodes show distinct Charcotian traits (an early childhood 'illness', two doctors in conversation etc) and a (really great) fantasy/visionary episode in the book seems to show, to me, the influence of Michelets book on witchcraft. If anything, the book seems even more subversive that Stableford suggests, as Sophie seems largely 'out and proud' and the author often says that she is 'is as she is' suggesting to me that it is 'natural' rather than demonic. I wonder whether the publisher asked Mendes to add some suggestion of the demonic to 'tone down' the idea that people were actually like 'that'.”

1890s

Avant la nuit / Before the dark - Marcel Proust (1893) / Short story (seriously, less than 10 pages). I read it the other day before bed and it’s pretty good. Talks about Françoise, a woman, revealing her homosexuality to her friend Leslie.

A Sunless Heart - Edith Johnstone (1894) / “Its first third focuses on Gasparine O'Neill, who shares an intense connection with her sickly twin brother, Gaspar. Living in poverty, the two struggle to live decently until Gaspar dies. Here gritty naturalism gives way to fantasy, as Gasparine is rescued from despair by the brilliant Lotus Grace, a much-admired teacher at the local Ladies' College. Sexually exploited from the age of twelve by her sister's fiancé, Lotus cannot love anyone, not even her illegitimate child. Gasparine devotes herself to Lotus, but Lotus finds her final brief happiness with a woman student, Mona Lefcadio, a passionate Trinidadian heiress. Exploring issues of race, sexuality, and class in compelling prose, A Sunless Heart is a startling re-discovery from the late- Victorian era. The appendices to this Broadview edition provide contemporary documents that illuminate the tension between romantic friendship and lesbian consciousness in the novel and address other debates in which the novel the nature of Creole identity, the education of women, and the dangers of childhood sexual exploitation.”

The Songs of Bilitis - Pierre Louÿs (1894) / Poetry. However, believe it or not, these were not written by a woman but by a man. Why add it then, well, the story is quite original. The author (Pierre Louÿs) published this verses as written in Ancient Greece by a “disciple of sappho” named Bilitis. He created this whole character, she was a woman, she was a poet, she was a sappho disciple, her work has been lost until now, and she was a huge lesbian. Of course, this is not true, but still, it’s an interesting read. “Between their open celebration of lesbian love and the eventual revelation of their true authorship—the verses actually were written by French novelist and poet Pierre Louÿs—they became a succès de scandale. Although debunked as a work of antiquity, The Songs of Bilitis remains a classic of erotic literature.”

1900s

A Woman's Affair - Liane de Pougy (1901) / "Despite her beauty and her riches, Annhine de Lys, one of the most notorious courtesans of 1890s Paris, is bored and restless. Into her life bursts Flossie, a young American woman, and everything changes. The love she offers Annhine is dangerous, perverse and hard to resist. Ignoring the warnings of her best friend, Annhine encourages the affair."

I Await the Devil's Coming - Mary MacLane (1902) / “Mary MacLane's I Await the Devil's Coming is a shocking, brave and intelectually challenging diary of a 19-year-old girl living in Butte, Montana in 1902. Written in potent, raw prose that propelled the author to celebrity upon publication, the book has become almost completely forgotten. In the early 20th century, MacLane's name was synonymous with sexuality; she is widely hailed as being one of the earliest American feminist authors, and critics at the time praised her work for its daringly open and confesional style. In its first month of publication, the book sold 100,000 copies--a remarkable number for a debut author, and one that illustrates MacLane's broad appeal.” She’s pretty sapphic and claims her (female) lit teacher is her true love. Also an excerpt from a Goodreads review: “She awaits the Devil to come and marry her and bring happiness if only for three days, meanwhile rehearsing suicide. She prays to the Devil to deliver her from “unripe bananas; from bathless people; from a waist-line that slopes up in the front" but offers sensuous instructions on how to eat an olive, and enjoys porterhouse steaks and fudge she makes with brown sugar. It's quite a ride. Many recent reviewers pigeonhole her as an ahead-of-her-time Goth or emo, simply transcribing an eternal and universal teen angst.”

Q.E.D. - Gertrude Stein (1903) - Autobiographical short story about a love triangle between three women; Adele (Stein), Mabel, manipulative and wealthy, and Helen, who seduces Adele.

A Woman Appeared To Me - Renée Vivien (1904) / I have no idea how to explain this book other than it's all I ever wanted and it has an absolutely breathtaking prose. Think of The Picture of Dorian Gray, Oscar Wilde’s writing style and descriptions, the character's philosophy, and the queer toxic relationships in the book. Now make it lesbian and even more explicitly queer. Also I'm pretty sure the main characters want to fuck Sappho. On the second chapter the main characters + some side characters (all women + one guy) are having a discussion (a symposium of sorts) about how much they love sappho and how believing she married a man is stupid and how they don’t hate men, just really dislike them, and the guy says: "Mademoiselle, you are trying to hide from the irresistible seduction of the male. You will certainly finish your love-life in the arms of a man." And our main character being an icon finished the chapter answering him this: "That would be a crime against nature, sir. I have too much respect for our friend to believe her capable of an abnormal passion!". It’s so good. I have seen mixed opinions on this one, but I’m just gonna say: the girls than get it, get it. Everything by Renée Vivien is so good, but this is her only full novel I think (she also wrote poems and short stories). If you have to read only one book out of all the books in this post, let it be this one.

Zezé - Ángeles Vicente (1909) / Not translated (I think) but it’s the first lesbian novel written in Spanish which is pretty cool (even cooler than it was written by a woman who, in 1909 (or around it) divorced her husband and lived through her writing). The plot is basically, the narrator (the author) is on a ship and shares the cabin where she’s staying with another woman, Zezé, a cuplé singer, who tells her about her life (her childhood in a religious school, where she discovered her sexuality with had a relationship with another (female) student, her life in Madrid as an adult and living life as a woman, etc)

1910s

Despised & Rejected - Rose Allatini (1918) / A gay man and a lesbian are friends during WWI, which they are against (an anti-war novel). I think the book is in the perspective of the gay man, but his friend is also a main character.

The Scorpion - Anna Elisabet Weirauch (1919) / A review by a reader: “This book felt more like historical fiction than a novel actually written in 1919-1932, considering the explicitly lesbian relationships and coming of age and coming out style narrative. The story follows the life of Metta, a lesbian who grew up with a controlling family in Berlin. The narrative follows her from her first crush on her manipulative governess, to her first love the older and intelectual Olga, and her foray into the gay scene in Munich and beyond. The story isn't without suffering and it isn't just a love story despite how much you might want it to be. Definite trigger warnings for suicide (not Metta), poor mental health, homophobia and general cringe comments due to the time of writing. But the point of the book is for Metta to find a way to be, a way to live her life comfortably and happily, essentially to find herself.”

1920s

The Bacheloress - Victor Marqueritte (1922) / “Monique is an emancipated French woman who leaves home to escape a marriage of convenience to a man whom her parents have forced on her. She then succumbs to all sorts of carnal temptations including a lesbian love affair with a singer. The scandal provoked by Victor Margueritte's La Garçonne, here translated as The Bacheloress, led to its author having his legion d'honneur revoked, which only propelled this novel about a brazenly independent "new woman" to best-seller status. What was shocking then was not so much the reckless behavior of its heroine, who is depicted as the victim of psychological torment, but the portrait of the corrupt post-WWI society in which she lives. Authentic as Monique is, the types of love she encounters, set against the hostile and contemptuous portrayal of her peers, only amplifies her struggle.”

Yellow Rose - Nobuko Yoshiva (1923) / This is the only book than has been translated by this author, she was a lesbian who wrote Class-S romance (a Japanese book genre of the time, which focused on lesbian / homoerotic relationships between women [so-called romantic friendships], than usually take place in an all-girls boarding school). This specific story talks about a teacher-student relationship. She has other books, one called Yaneura no nishojo (two virgins in the attic) (1919) which isn’t translated, but sounds good, the story “is thought to be semi-autobiographical, and describes a female-female love experience with her dormmate. In the last scene, the two girls decide to live together as a couple. This work, in attacking male-oriented society, and showing two women as a couple after they have finished secondary education presents a strong feminist attitude, and also reveals Yoshiya's own lesbian sexual orientation”.

Freundinnen: ein Roman unter Frauen / Girlfriends: a Novel among Women - Maximiliane Ackers (1923) / Only in German, not translated. Review from an English reader: “This novel—which went through several editions in the 20s before being banned by the Nazis—is uncompromisingly, heartbreakingly queer. The novel tells the story of the love between two actresses in Wiemar Germany, Ruth and Erika. Both women struggle to support themselves on the stage, to live independently, and to come to terms with their love for each other and how they might live and express themselves and their desire.”

Surplus - Sylvia Stevenson (1924) / Review from a reader: “This book should be included in lists of seminal lesbian fiction. Published in 1924, Surplus is the story of Sally Wraith's young adult adventures after the end of WWI, during which period she served as an ambulance driver. The novel is not explicit and dos not detail a physical relationship between Sally and her romantic friend Averil but Sally refers to Averil as her "dream girl" with whom she wants to spend the rest of her life. This novel was published before Radclyffe Hall's Well of Loneliness , which is often hailed for its early negative portrayal of homophobia. But I find it compelling that Sally's love for Averil is not treated as deviant. It's just tragic for any babydyke to fall in love with a straight girl!”

The Captive - Eduard Bourdet (1926) / Theatre, “Irène is a lesbian tortured by her love for Madame d'Aiguines, but pretending engagement to Jacques (man). Though Irène attempts to leave Madame d'Aiguines and marry Jacques, she returns to the relationship, saying that it is "a prison to which I must return captive, despite myself". Madame d'Aiguines is not seen in the play, but leaves behind nosegays of violets for Irène, as a symbol of her love.” Read here

Women Lovers, or The Third Woman - Natalie Clifford Barney (1926) / “This long-lost novel recounts a passionate triangle of love and loss among three of the most daring women of belle époque Paris. In this barely disguised roman à clef, the legendary American heiress, writer, and arts patron Natalie Clifford Barney, the dashing Italian baroness Mimi Franchetti, and the beautiful French courtesan Liane de Pougy share erotic liaisons that break all taboos and end in devastation as one unexpectedly becomes the "third woman."

HERmione - H.D (1927) / “This autobiographical novel, an interior self-portrait of the poet H. D. (1886-1961) is what can best be described as a find, “a posthumous treasure”. In writing HERmione, H.D. returned to a year in her life that was peculiarly blighted. She was in her early twenties—a disappointment to her father, an odd duckling to her mother, an importunate, overgrown, unincarnated entity that had no place... Waves to fight against, to fight against alone... “I am Hermione Gart, a failure” —she cried in her dementia, “I am Her, Her, Her.” She had failed at Bryn Mawr, she felt hemmed in by her family, she did not yet know what she was going to do with her life. The return from Europe of the wild-haired George Lowndes (Ezra Pound) expanded her horizons but threatened her sense of self. An intense new friendship with Fayne Rabb (Frances Josepha Gregg), an odd girl who was, if not lesbian, then certainly of bisexual bent, brought an atmosphere that made her hold on everyday reality more tenuous. This stormy course led to mental breakdown, then to a turning point and a new beginning as her own true self, as Her"

Lucia Sánchez Saornil (1895 - 1970) / Spanish poet, putting her here because she’s part of generation ‘27. Read her Wikipedia page because she’s literally iconic (I can’t put the link here for some reason). I love her so much. She was an anarchist and very revolutionary. She wrote under a pen name to be able to explicitly write about women and lived with her partner (América Barroso) until she died. I haven’t been able to find an English translation of her writing, but I do have found a French one, so better than nothing

Dusty Answer - Rosamond Lehmann (1927) / Coming of age story of Judith Earle, sensitive, lonely, who grew up as an only child, but with 4 neighbors (all cousins) to make her company (and eventually harbor romantic feelings for). Then she moves to college, where she meets Jennifer and enters a relationship with her. Although the relationship is not explicitly romantic.

Ladies Almanack - Djuna Barnes (1928) / “Written as a medieval calendar, Ladies Almanack is a clever parody of the crazy sapphic circle of Natalie Barney and her Académie des Femmes. Sharp, biting, witty and transgressive, it is also a modern and pioneer in his vision of lesbianism and the issues surrounding relationships between women. The emotional endogamy, transvestism, motherhood, marriage or differences between sex and gender are already presented in the book with a charge of irony and acidity that is rare in the treatment of the topic. And it is also a breath of fresh air, an essential reference to know the world of lesbian women in all its breadth and diversity.”

1930s

The Angel and the Perverts - Lucie Delarue-Mardrus (around 1930) / "Set in the lesbian and gay circles of Paris in the 1920s, The Angel and the Perverts tells the story of a hermaphrodite born to upper class parents in Normandy and ignorant of his/her physical difference. As an adult, s/he lives a double life as Marion/Mario, passing undetected as a lesbian in the literary salons of the times, and as a gay man in the cocaine dens made famous by Colette." Technically not lesbian, but it’s “set in the lesbian cercles of Paris”

Broderie Anglaise - Violet Trefusis (1935) / Technically not a lesbian novel, but by a sapphic author. Do you know about Virginia Woolf and Vita Sackville-West? Of course you do, everyone does. However, do you know than Violet Trefusis used to be Vita’s lover? They dated as teens and again as adults. There’s this whole gay toxic romantic circle between Violet, Vita, and Virginia. Violet wrote this book where she’s basically adding Vita, Virginia, and herself into the characters and dissing them. The plot centers on an encounter between Alexa, a celebrated English writer (Virginia), and her rival, Anne (Violet), and their discussion about their mutual lover, Lord Shorne (Vita).

Summer Will Show - Sylvia Townsend Warner (1936) / Sophia Willoughby's husband has a mistress who he cheats on her with. So she grabs him and packs him up to Paris with his mistress. She'll raise their children and he can have his mistress all day long if he wants, what she wants is to not see him. Sadly, her children die, and she goes to Paris, where she'll find her husband's mistress, and the two of them start an affair with eachother.

Diana: A Strange Autobiography - Diana Frederics (1939) / “«This is the unusual and compelling story of Diana, a tantalizingly beautiful woman who sought love in the strange by-paths of Lesbos. Fearless and outspoken, it dares to reveal that hidden world where perfumed caresses and half-whispered endearments constitute the forbidden fruits in a Garden of Eden where men are never accepted». This is how A Strange Autobiography was described when it was published in paperback in 1952. The original 1939 hardcover edition carried with it a Publisher's This is the autobiography of a woman who tried to be normal. In the book, Diana is presented as the unexceptional daughter of an unexceptional plutocratic family. During adolescence, she finds herself drawn with mysterious intensity to a girl friend. The narrative follows Diana's progress through college; a trial marriage that proves she is incapable of heterosexuality; intelectual and sexual education in Europe; and a series of lesbian relationships culminating in a final tormented triangular struggle with two other women for the individual salvation to be found in a happy couple.”

1940s

Hidden Path - Elena Fortún (somewhere around the 1940s) / Maria Luisa grows up on 1910s/1920s Spain. She is a peculiar girl, one who despises wearing dresses and wants to dress as a sailor, who could spend all day reading, who loves painting, and who swears she will never marry. Oh, and she's also a lesbian. Based on the author's life Maria Luisa is kind of the author's alter ego, and it follows her from childhood to adulthood while dealing with a world not created with people like her in mind. (Not published until 2016)

El Pensionado de Santa Casilda / The Boarding School of Saint Casilda - Elena Fortún (somewhere around the 1940s) / This book is not translated, but if you know spanish I recommend to pick it up. A group of 14/15 year old girls who go to the same spanish all-girls boarding school, and they are all in love with each other. It follows them into adulthood and how they navigate their lives being women and lesbians in the past (Not published until 2022). Messy lesbians at its finest. Like, seriously. Lesbians still in love with their ex and not over their first love, dating their friends and their ex friend, and the ex of their friend, and having sugar mommies, etc etc

1960s

Winter Love - Han Suyin (1962) / “As a college student in London during the bitterly cold winter of 1944, Red falls in love with her married classmate Mara. Their affair unleashes a physical passion, a jealousy, and a sense of self-doubt that sweep all her previous experiences aside and will leave her changed forever. Set against the rubble of the bombed city, in a time of gray austerity and deprivation, Winter Love recalls a life at its most vivid.”

The Chinese Garden - Rosemary Manning (1962) / “A "very intelligent, sensitive, and compelling" novel of adolescent rebellion and sexual awakening at a girls' boarding school (Anthony Burgess). Set in a repressive British girls' boarding school in the late 1920s—where not only sexuality but femininity is squashed—the novel is the coming-of-age story of sixteen-year-old Rachel, a sensitive, bright, and innocent student. Rachel finds refuge from the Spartan conditions, strict regime, fierce discipline, and formidable headmistress at Bampfield in a secret garden. She also finds friendship there, with a rebellious girl named Margaret. As Margaret has her mind expanded by a scandalous tome entitled The Well of Loneliness, she engages in a bold, forbidden act—the ultimate transgression at Bampfield—and Rachel is drawn into the turmoil. Confronted with the persecution of her friend and troubled by a growing awareness of her own sensuality, Rachel faces an imposible choice that drives her to desperate measures.”

The Microcosm - Maureen Duffy (1966) / “At the House of Shades, Matt, a bar-room philosopher, tries to make sense of the disparate lives which cross here -- of Judy who saves herself and her finery for a Saturday night lover, of Steve the gym teacher who dreads a chance encounter with a pupil in this twilight environment, and of Matt herself, who needs these vicarious exchanges despite the security of her relationship with Rae and her sense that this lesbian sanctuary is a prison too, enforcing the guilt and estrangement of the city streets beyond. Elsewhere there are women such as Marie, trapped within an unwanted marriage and unable to admit her sexuality, and Cathy, for whom the discovery that she is not 'the only one in the world' is an affirmation of her existence. With its innovative structure and style, perfectly mirroring the voices and experiences of women forced by society to live on the margins, The Microcosm remains as powerful today as when originally published in 1966.”

1970s

Beginning with O - Olga Broumas (1977) / A poetry collection by a lesbian, greek writer.

The Same Sea as Every Summer - Esther Tusquets (1978) / A stream-of-consciousness type book, by an author who has been compared to Virginia Woolf. “Poetic and erotic, El mismo mar de todos los veranos ( The Same Sea As Every Summer ) was originally published in Spain in 1978, three years after the death of Franco and in the same year that government censorship was abolished. But even in a new era that fostered more liberal attitudes toward divorce, homosexuality, and women's rights, this novel by Esther Tusquets was controversial. Its feminine view of sexuality (in particular, its depiction of a lesbian relationship) was unprecedented in Spanish fiction. The disillusioned narrator of The Same Sea As Every Summer is a middle-aged woman whose unhappy life prompts a journey into she past to rediscover a more authentic self. However, events force her to realize that love or trust will inevitably be repaid by betrayal. This pattern assumes various forms in a story that moves forward as well as backward, playing out in Barcelona among the haute bourgeoisie. Richly textured with allusion, The Same Sea As Every Summer is also a commentary on post-Civil War Spanish society by an author who grew up during the repressive Franco regime.”

Así es: Mi vida 3 - Victorina Durán (somewhere in the late 1970s) / So, not translated but has great historical value. Basically, this is the third book out of Victorina’s memories that she wrote in the 70s. Victorina (1899 - 1993) was so cool. She was an icon. She was a sceneographer, a painter, a costume designer, writer (aside from her memories, she has some theatre plays), etc. She actually wanted to be an actress. She was part of the Círculo Sáfico de Madrid (the sapphic club of Madrid, a club made out of her and her friends, who were sapphic) among others. She never hid her sexuality. She was friends with almost all the importante well known people in 1920s / 1930s Spain. This book is the third one out of her memories, and it’s focused explicitly on her relationships (all with women). She said she wanted to focus on them and give them a book of their own, so this is of great historical value, giving insights into the queer spaces, lesbian scene, wlw relationships and being gay at that time. I need to read it so bad if someone has a pdf please tell me I’ll send them my fanfic wips

1980s

On Strike against God - Joanna Russ (1980) / “A lost feminist masterwork by feminist and speculative fiction icon, Joanna Russ, about a young lesbian's coming-to-consciousness during the social upheaval of the 1970s. When Esther, a recently divorced professor, has her first lesbian love affair, the fallout brings her everyday miseries into focus and precipitates a personal crisis. She flees her small, upstate New York college town, grapples with gender confusion and the ghosts of therapists past, and fumbles her way through comedic sexual self-discovery, oscillating all the while between visionary confidence and debilitating self-doubt. Confronted with the homophobia of straight feminists and the misogyny of gay men, Esther is left to forge a language for her feminism and her burgeoning lesbian desire. On Strike Against God is quintessentially experimental but accesible, alternately wry and earnest, poignantly didactic, playful, and emotionally charged.” From a review: “For anyone like me who's unfamiliar with the quote which inspired the title: A judge was sentencing a picketer from the early twentieth century shirtwaist-makers strike (the first large scale strike by women), and he told her, "You are striking against God and Nature, whose law is that man shall earn his bread by the sweat of his brow. You are on strike against God!"

Faultline - Sheila Ortiz Taylor (1982) / “An outrageous, zesty, funny Lesbian novel; the adventures of a Lesbian mother with six children, three hundred rabbits, and very relaxed attitude."

The Swashbuckler - Lee Lynch (1985) / "Frenchy Tonneau leaves her closeted home in the Bronx for the bars of New York City, the freedom of Provincetown, and the liberation of Greenwich Village in the 1960s and 1970s. Her hangouts, her women, her small yet universal world tell the stories of the times - and the stories of lesbians today. A timeless journey and a riveting read, The Swashbuckler is heart-wrenching, heartwarming, and unforgettable." Butch main character, lesbian life in the 60s/70s, lesbian-feminism, butchfemme, etc.

Fried Green Tomatoes at the Whistle Stop Café - Fannie Flagg (1987) / listen, LISTEN, I know this book is not obscure, absolutely not given it even has a movie adaptation, but people do not give this book the love it deserves. I'm constantly thinking about Idgie and Ruth, they are one of my favorite fictional couples ever, and also my favorite lesbian fictional couple. They are such interesting characters with such an interesting dynamic and I just love them so so much. A femmebutch couple in 1920s Alabama, who go through many hardships but still find eachother, still end together, and even have a restaurant, live together, and raise a kid. And not only them, but the book is made out of 4 main characters (or 3 depends on if you see Ninny as a main character or not), Idgie, Ruth, and Ninny and Evelyn. Evelyn, an 80s depressed housewife in her 40s finds solace and a true friend in Ninny, a 90 year old woman staying at a nursing home (not ‘cause she needs it, but to keep a friend company). Ninny tells her the story of Idgie (her, kind of, sister) and Ruth, her best friend and lover. Evelyn finds feminism and hope through the memories, getting inspired by Idgie and Ruth's story and becoming happier in her life. It has several points of views and it jumps between years (first 1980s, then 1920s, then 1940s, then 1980s again, etc) and it also talks a lot about racism in 1920s Alabama, and i'll just stop because I love this book so much and i could go on forever. Oh, and also they murder a man and feed him to a police officer.

Lovers' choice - Becky Birtha (1987) / A collection of eleven short stories about lesbian women.

1990s

Out Of Time - Paula Martinac (1990) / Susan finds an old photograph album with pictures from the 1920s, all pictures being of a group of women (four in total). She's told it's not for sale, but she steals it anyway. After some digging, she finds out than two of the girls from the photos were lovers! And not only is Susan trying to navigate the details of her life and of her relationship with her own girlfriend, but she obsesses over the women in the picture, and eventually, the spirits of the girls start to haunt her.

The Gilda Stories - Jewele Gomez (1991) / Gilda escaped from slavery in the 1850s, until she's taken by a vampire who (consensually) turns her into a vampire too. Gilda moves through the decades finding community and connections and helping people, and slowly builds a place for herself in time. (Fine, not actually obscure since I’ve seen it all around the internet, but it just sounds so good)

Annabel and I - Chris Anne Wolfe (1996) / Plot summed up by a reader: “Half-orphaned Jenny-Wren spends her summers at her uncle Jake's fishing lodge on Lake Chautauqua. One summer day when she's twelve years old while boating with her uncle, she finds a girl on the end of a dock reaching futilely for her escaped model boat. Jenny swims over and rescues the boat, meeting the orphaned Annabel, spending her summers at her grandmother's summer estate. This begins a friendship that endures and grows for years as the two girls spent each summer together, only to be separated at the end of summer. As the two grow older, they realize a magic is at work that keeps bringing them together, despite the near century between them. As the summers come and go, the two young women discover their love for each other, and the realization that their love is imposible. Can their love persist beyond those fleeting summers and flourish, in the face of time?”. Review from a reader: “The foreword says this book is for all wlw, and that, "Because there are as many different ways to love a woman as there are women who love women; it's the loving, not the label, that really matters." That really captured the core of what this book does, it treasures the love we create with our bare hands for and with another woman.” A time travel romance (Jenny is from the 1980s, Annabel from 1890s)

Ain't Gonna Be the Same Fool Twice - April Sinclair (1996) / Bisexual mc. “Jean "Stevie" Stevenson, the indomitable heroine of "Coffee Will Make You Black," is back—somewhat older and wiser, with some experience and a college degree -- diving headfirst into the hot tub, free love, yoga, and vegetarian lifestyle of 1970s San Francisco. In this liberating new world of raised consciousness, mind-expanding, and disco-dancing, a soul sister with passion and daring has room to experiment with life and love to find out who she "really" is.”

Beyond the Pale - Elana Dykewomon (1997) / “The story of two Jewish women living through times of darkness and inhumanity in the early 20th century, capturing their undaunted love and courage in luminous and moving prose. The richly textured novel details Gutke Gurvich's odyssey from her apprenticeship as a midwife in a Russian shtetl to her work in the suffrage movement in New York. Interwoven with her tale is that Chava Meyer, who was attended by Gurvich at her birth and grew up to survive the pogrom that took the lives of her parents. Throughout the book, historical background plays a large part: Jewish faith and traditions, the practice of midwifery, the horrific conditions in prerevolutionary Russia and New York sweatshops, and the determined work of labor unionists and suffragists." While it is a romance, it's also more than that, it's about the life of Jewish women in the 20th century.

Crystal Diary - Frankie Hucklenbroich (1997) / “Frankie Hucklenbroich's razor-edged, compelling, often wryly humorous story hustles us from the blood-and-beer-drenched corners of her St. Louis meat-packing district '50s youth, through the sex-soaked Hollywood alleys of her '60s baby butch years, into the druggy metropolis of '70s San Francisco. Moving relentlessly from one woman to another until faces and bodies blur, scamming her existence, learning what the street has to how to make a buck, how to make it with a woman, how to court the dangers of crystal meth, how to survive.”

Hers 3 - Terry Wolverton (1999) / Short stories

2000s

Valencia - Michelle Tea (2000) / "Valencia is the fast-paced account of one girl's search for love and high times in the drama-filled dyke world of San Francisco's Mission District. Through a string of narrative moments, Tea records a year lived in a world of girls: there's knife-wielding Marta, who introduces Michelle to a new world of radical sex; Willa, Michelle's tormented poet-girlfriend; Iris, the beautiful boy-dyke who ran away from the South in a dust cloud of drama; and Iris's ex, Magdalena Squalor, to whom Michelle turns when Iris breaks her heart."

Naked in the Promised Land: A Memoir - Lillian Faderman (2003) / “Born in 1940, Lillian Faderman is the only child of an uneducated and unmarried Jewish woman who left Latvia to seek a better life in America. Lillian grew up in poverty, but fantasised about becoming an actress. When her dreams led to the dangerous, seductive world of the sex trade and sham-marriages in Hollywood of the fifties, she realised she was attracted to women, and that show-biz is as cruel as they say. Desperately seeking to make her life meaningful, she studied at Berkeley; paying her way by working as a pin-up model and burlesque dancer, hiding her lesbian affairs from the outside world. At last she became a brilliant student and the woman who becomes a loving partner, a devoted mother, an acclaimed writer and ground-breaking pioneer of gay and lesbian scholarship. Told with wrenching immediacy and great power, Naked in the Promised Land is the story of an exceptional woman and her remarkable, unorthodox life.”

Her Naked Skin - Rebecca Lenkiewicz (2008) / Theatre. “Militancy in the Suffragette Movement is at its height. Thousands of women of all classes serve time in Holloway Prison in their fight to gain the vote. Amongst them is Lady Celia Cain who feels trapped by both the policies of the day and the shackles of a frustrating marriage. Inside, she meets a young seamstress, Eve Douglas, and her life spirals into an erotic but dangerous chaos. London 1913. A crucial moment when, with emancipation almost in sight, women refuse to let the establishment stand in their way.”

The Rain Before it Falls - Jonathan Coe (2008) / “A story of three generations of women whose destinies reach from the English countryside in World War Il to London, Toronto, and southern France at the turn of the new century. Evacuated to Shropshire during the Blitz, eight-year-old Rosamond forged a bond with her cousin Beatrix that augured the most treasured and devastating moments of her life. She recorded these memories sixty years later, just before her death, on cassettes she bequeathed to a woman she hadn't seen in decades. When her beloved niece, Gill, plays the tapes in hopes of locating this unwitting heir, she instead hears a family saga swathed in promise and the story of how Beatrix, starved of her mother's affection, conceived a fraught bloodline that culminated in heart-stopping tragedy—its chief victim being her own granddaughter. And as Rosamond explores the ties that bound these generations together and shaped her experience all along, Gill grows increasingly haunted by how profoundly her own recollections--not to mention the love she feels for her grown daughters, listening alongside her-- are linked to generations of women she never knew. A stirring, masterful portrait of motherhood and family secrets, "The Rain Before It Falls" is also a meditation on the tapestries we weave out of the past, whether transcendent or horrific.”

2010s

When We Were Outlaws - Jeanne Cordova (2011) / "A sweeping memoir, a raw and intimate chronicle of a young activist torn between conflicting personal longings and political goals. When We Were Outlaws offers a rare view of the life of a radical lesbian during the early cultural struggle for gay rights, Women's Liberation, and the New Left of the 1970s. Brash and ambitious, activist Jeanne Cordova is living with one woman and falling in love with another, but her passionate beliefs tell her that her first duty is "to the revolution".—to change the world and end discrimination against gays and lesbians."

Call Me Esteban - Leila Kalamuié (2015) / “With unapologetic vividness, Lejla Kalamujic depicts pre- and post-war Sarajevo by charting a daughter coping with losing her mother, but discovering herself. From imagined conversations with Franz Kafka to cozy apartments, psychiatric wards, and cemeteries, Call Me Esteban is a piercing meditation on a woman grasping at memories in the name of claiming her identity.”

Lancelot: Her Story - Carol Anne Douglas (2015) / Arthurian legend retelling! "A young girl sees a man rape and murder her mother. She grabs a stick and puts out his eye. Her father raises her as a boy so she will be safe from men's attacks. She practices and practices until she becomes a great fighter - Lancelot. She wants to protect women—and she does. Lancelot hears about King Arthur, a just king across the sea, and journeys to earn a place at Camelot. She vows to serve him. but fears that Arthur and his men will discover that she is a woman and send her away. Lancelot is shocked to realize that she is falling in love with the king's wife, Guinevere. Guinevere is a strong woman who would have preferred to be queen in her own right, not through marriage. Saxons attack Arthur's kingdom, and Lancelot finds out that fighting a war is far different from saving women in single combat. The savagery of war devastates her, she is living a lie, but she is also deeply in love…”

Jigsaw Youth - Tiffany Scandal (2015) / “Lose your best friend because you finally Came Out. Spend days driving aimlessly because there's nothing to do. Serve your rapist breakfast because you need your job. Fall asleep to gunshots and sirens because that's the only sense of home you've ever known. Hold hands with ghosts. Your life is in pieces, but you can't be broken. Wipe off the blood. Tired of being told who to be, what to wear, how to act and who to fuck. Break the rules and learn fast how to never get caught. All you need is nothing, but you're happy with your car, guitar and camera. Throwing around polaroids of tits like they're money, you swap stories about adventures and realize that we're all running away from something.”

Creatures of Will & Temper - Molly Tanzer (2017) / Recommended as a sapphic picture of dorian gray retelling, it tells the story of Dorina (hedonistic, art lover, and woman-kisser), her older sister Evadne (fencer and responsable), Lady Henrietta (suit-wearing, cigar-smoking lesbian who is a horrible influence), and Basil, Dorina and Evadne's uncle, and who's character has not changed much. They also summon demons.

The Adventures of China Iron - Gabriela Cabez��n Cámara (2017) / “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. This subversive retelling of Argentina's foundational gaucho epic Martín Fierro is a celebration of the colour and movement of the living world, the open road, love and sex, and the dream of lasting freedom. With humour and sophistication, Gabriela Cabezón Cámara has created a joyful, hallucinatory novel that is also an incisive critique of national myths.”

2020s

Thirst - Marina Yuszczuk (2020) / “Across two different time periods, two women confront fear, loneliness, mortality, and a haunting yearning that will not let them rest. It is the twilight of Europe's bloody bacchanals, of murder and feasting without end. In the nineteenth century, a vampire arrives from Europe to the coast of Buenos Aires and, for the second time in her life, watches as villages transform into a cosmopolitan city, one that will soon be ravaged by yellow fever. She must adapt, intermingle with humans, and be discreet. In present-day Buenos Aires, a woman finds herself at an impasse as she grapples with her mother's terminal illness and her own relationship with motherhood. When she first encounters the vampire in a cemetery, something ignites within the two women-and they cross a threshold from which there's no turning back. With echoes of Mary Shelley's Frankenstein and written in the vein of feminist Gothic writers like Shirley Jackson, Daphne du Maurier, and Carmen Maria Machado, Thirst plays with the boundaries of genre while exploring the limits of female agency, the consuming power of desire, and the fragile vitality of even the most immortal of creatures.” Lesbian vampires!

The Lives We Left Behind - Olivia Bratherton-Wilson (2021) / I read this one so long ago and I don’t remember everything with detail, just than I really liked it. “1943. Seventeen-year-old Dorotea Miller is given the responsibility of managing the family farm when her father and brother are conscripted, leaving her with only her distant mother and the unfamiliar Land Girls for company. Angeline Carter and her four younger brothers are evacuated to the Welsh countryside to escape the bombings; the Miller farm is nothing like they've seen before and certainly more than Angeline bargained for when she meets the surly, unwelcoming farmer's daughter. Despite their rocky start, misunderstandings and tragedies, Dorothea and Angeline realise that their friendship may run deeper than either of them had prepared for.” There is also a sequel! That one I haven’t read tho.

Agatha of Little Neon - Claire Luchette (2021) / "Agatha has lived every day of the last nine years with her sisters (the other nuns) : they work together, laugh together, pray together. Their world is contained within the little house they share. The four of them are devoted to Mother Roberta and to their quiet, purposeful life. But when the parish goes broke, the sisters are forced to move. They land in Woonsocket, a formermill town now dotted with wind turbines. […] Agatha is forced to venture out into the world alone, to teach math at a local all-girls high school, where for the first time in years she will have to reckon with what she sees and feels all on her own. Who will she be if she isn't with her sisters? These women, the church, have been her home--or has she just been hiding? […] It is a novel about female friendship and devotion, the roles made available to us, and how we become ourselves." Lesbian nuns

Burning Butch - R/B Mertz (2022) / A butch lesbian memoir of their life growing up catholic and surviving in the world, while dealing with faith and what it shape it takes to them.

London on My Mind - Clara Alves (2022) / So, the English translation just came out! Funny thing is, I started this in 2022 even tho I don’t know Portuguese (translating paragraph by paragraph with google translate) and it was pretty good. I haven’t finished it (translating a whole book with google translate is definitely work) but I’m so ready to read it now that it’s translated. Dayana (seventeen, black, plus size, and Brazilian) is forced to move to London with her father (who abandoned her mother and her) and his new family after her mother died. She’s having a pretty horrible time, until, on a walk, finds a redhead girl… escaping Buckingham Palace?? So of course, she helps her escape. Who exactly is this girl? Why was she escaping?? The answer, her name is Diana and she’s sort of (super) the princess of Wales. Huh.

Helen House - Kayla Kumari Upadhyaya (2022) / “Right before meeting her girlfriend Amber's parents for the first time, the unnamed narrator of Helen House learns that she and her partner share a similar both of their sisters are dead. As the narrator wonders what else Amber has been hiding, she struggles with her own secret--using sex as a coping mechanism--as well as confusion and guilt over whether she really cares about Amber, or if she's only using her for sex. When they arrive at the parents' rural upstate home, a quaint but awkward first meeting unravels into a nightmare in which the narrator finds herself stranded in a family's decades-long mourning ritual. At turns terrifying and erotic, Helen House is a queer ghost story about trauma and grief.”

Promises in Pompeii - Violet Morley (2022) / Set in Ancient Rome, it tells the story of two girls, Octavia and Helvia, childhood friends, and their journey through life as women and through their feelings. In the author ig, she said it includes: adventure/survival, against the odds, brothels, butch/femme, coming of age, disguised as a man, first love, friends to lovers, opposites attract, etc. I’m currently reading it, and I really like it so far.

Nettleblack - Nat Reeve (2022) / “Subversive and playful, Nettleblack is a neo-Victorian queer farce that follows a runaway heir/ess and an organisation of crime-fighting misfits as they struggle with the misdeeds besieging a rural English town. The year is 1893. Having run away from her family home to escape an arranged marriage, Welsh heiress Henrietta “Henry” Nettleblack finds herself ambushed, robbed, and then saved by the mysterious Dallyangle Division - part detective agency, part neighbourhood watch. Desperate to hide from her older sisters, Henry disguises herself and enlists. But the Division soon finds itself under siege from a spate of crimes and must fight for its very survival. Assailed by strange feelings for her new colleague - the tomboyish, moody Septimus - Henry quickly sees that she's lost in a small rural town with surprisingly big problems. And to make things worse, sinister forces threaten to expose her as the missing Nettleblack sister. As the net starts to close around Henry, the new people in her life seem to offer her a way out, and a way forward. Is the world she's lost in also a place she can find herself? Told through journal entries and letters, Nettleblack is a picaresque ride through the perils and joys of finding your place in the world, challenging myths about queerness - particularly transness - as a modern phenomenon, while exploring the practicalities of articulating queer perspectives when you're struggling for words.”

Sunburn - Chloe Michelle (2023) / In Ireland, the early 1990s, Lucy feels out of place in her small town. She falls in love with her best friend and she has to find a way to find herself, make a meaning out of her feelings, and hide the truth from her conservative small town and religious peers.

Lucky Red - Claudia Cravens (2023) / "A vibrant and cinematic debut set in the American West about a scrappy orphan who finds friendship, romance, and her true calling as a revenge-seeking gunslinger." Lesbian cowboys

Neon Roses - Rachel Dawson (2023) / “Eluned Hughes is stuck. It's 1984 in a valley in south Wales: the miners' strike is ravaging her community; her sister's swanned off with a Thatcherite policeman; and her boyfriend Lloyd keeps bringing up marriage. And if they play '99 Red Balloons' on the radio one more time, she might just lose her mind. Then the fundraising group Lesbians and Gays Support the Miners comes down from London, and she meets June, a snaggle-toothed blonde in a too-big leather jacket. Suddenly, Eluned isn't stuck any more - she's in freefall. June's an artist and an activist, living in a squat in Camden. With June, Eluned can imagine a completely different - and exciting - life for herself. But as her family struggles with the strike, and her relationship with her sister deteriorates, should she really leave it all behind? From the Valleys to the nightclubs of Cardiff, London and Manchester, NEON ROSES is a heartwarming, funny and a little bit filthy queer coming-of-age story with a cracking '80s soundtrack.”

Tale of Three Ships - Darcia G. Laucerica (2023) / “In a world under the thumb of an empire, pirates sail away searching for a breath of freedom. But even the ocean is tainted by the powerful nation that has spread lies about women being bad luck at sea. Glenlivet has never cared about the fear-mongering. Her ship welcomes those who are rejected and need a home. For all the sailor' s superstitions and "codes" of piracy the captain mocks every day, not leaving the docks when it's dark is a personal boundary she swears by ever since acquiring The Outsider about eight years ago. She just might have to break her own rules to protect her crew, escape the claws of a king who wants her dead, and murder the man who raised her.” I’ve heard so many good things about this. Lesbian main character, with mlm and trans side characters. Author in social media said it includes: Chosen pirate family, sirens, indigenous and latine inspired characters, anti-colonialism, and people fighting injustice and abuse.

How to Breathe Ash - Alex Nonymous (2023) / “Eleanor Perrault doesn't know if there's a right way to handle being suddenly orphaned at sixteen, but it's definitely not the way that she's been coping with it. It's been two months since her parents died and despite her autism normally causing her to be even more emotionally volatile than most of her peers, she still hasn't even managed to cry over them yet. On top of trying to learn how to grieve properly, Eleanor's juggling starting a new semester in a new town with an aunt who seems eternally disappointed in her and a cousin who's randomly decided to start hating her. And a crush on the incredibly pretty president of her new school's QSA. How to Breathe Ash is a contemporary YA Cinderella retelling following Eleanor through elaborate dances, anonymous chat rooms, and learning the right way to not be alright.” Autistic mc! While I haven’t read anything from this author (yet) they have lots of wlw/nblw/nblnb books with autistic main characters.

War and Solace: A Tale from Norvegr - Edale Lane (2023) / “A battle-hardened shieldmaiden. A pacifist healer. Can the two find love amid the chaos of war? From Edale Lane, the award-winning, best-selling author of Sigrid & Elyn, comes a new Tale from Norgevr! Tyrdis is a stalwart warrior raised to value honor, courage, and military prowess. When a traumatic injury renders the powerful protector helpless, she depends on the lovely, tender-hearted Adelle to restore her from the brink of death. Is it merely gratitude or true love that draws Tyrdis to the healer? Defying cultural norms, Adelle despises violence and those who propagate it, but when her shieldmaiden patient saves the life of her beloved little girl, she must reexamine her values. Could Tyrdis be more than a stiff, efficient killer with an amazing body? In a kingdom steeped in conflict with their neighbors and internal strife, shocking secrets are revealed, and both women strive to ensure justice prevails. Can they overcome their differences to safeguard their friends, end the war, and fall in love, or will fate prove to be a cruel sovereign?” Historical fiction set during 643. The author also has another two sapphic books set in the same time period.

Maddalena and the Dark - Julia Fine (2023) / “A novel set in 18th-century Venice at a prestigious music school, about two girls drawn together by a dangerous wager Venice, 1717. Fifteen-year-old Luisa has only wanted one thing: to be the best at violin. As a student at the Ospedale della Pietà, she hopes to join the highest ranks of its illustrious girls' orchestra and become a protégé of the great Antonio Vivaldi. Luisa is good at violin, but she is not the best. She has peers, but she does not have friends. Until Maddalena. After a scandal threatens her noble family's reputation, Maddalena is sent to the Pietà to preserve her marriage prospects. When she meets Luisa, Maddalena feels the stirrings of a friendship unlike anything she has known. But Maddalena has a secret: she has hatched a dangerous plot to rescue her future her own way. When she invites Luisa into her plans, promising to make her dreams come true, Luisa doesn't hesitate. But every wager has its price, and as the girls are drawn into the decadent world outside the Pietà's walls, they must decide what it is they truly want—and what they will do to pay for it. Lush and heady, swirling with music and magic, Maddalena and the Dark is a Venetian fairytale about the friendship between two girls and the boundless desire that will set them free, if it doesn't consume them first.”

Greasepaint - Hannah Levene (2024) / “Set against a backdrop of 1950s New York, this experimental novel follows an ensemble cast of all-singing, all-dancing butch dykes and Yiddish anarchists through eternal Friday nights, around the table, and at the bar. In one of many bars, Frankie Gold sings while Sammy Silver plays piano after a day job at the anarchist newspaper. The Butch Piano Players Union meets in the corner next to the jukebox. Laur smokes on the back steps, sweaty thigh to thigh with Vic. Frankie's childhood sweetheart, Lily, turns up at yet another bar to see a second Sammy play every Friday night. And before all that, there's always dinner at Marg's. Fabulated out of oral histories, anthologies, as well as the fiction of the butch-femme bar scene and Yiddish anarchist tradition, Greasepaint is a rollicking whirlwind of music and politics- the currents of community embodied and held inside the bar.”

Perfume & Pain - Anna Dorn (2024) / “A controversial Los Angeles author attempts to revive her career and finally find true love in this hilarious nod to 1950s lesbian pulp fiction. Having recently moved both herself and her formidable perfume bottle collection into a tiny bungalow in Los Angeles, mid-list author Astrid Dahl finds herself back in the Zoom writer's group she cofounded, Sapphic Scribes, after an incident that leaves her and her career lightly canceled. But she temporarily forgets all that by throwing herself into a few sexy distractions—like Ivy, a grad student who smells like metallic orchids and is researching 1950s lesbian pulp, or her new neighbor, Penelope, who smells like patchouli. When Astrid receives an unexpected call from her agent with the news that actress and influencer Kat Gold wants to adapt her previous novel for TV, Astrid finally has a chance to resurrect her waning career. But the pressure causes Astrid's worst vice to rear its head—the Patricia Highsmith, a blend of Adderall, alcohol, and cigarettes-and results in blackouts and a disturbing series of events. Unapologetically feminine yet ribald, steamy yet hilarious, Anna Dorn has crafted an exquisite homage to the lesbian pulp of yore, reclaiming it for our internet—and celebrity-obsessed world”

How It Works Out - Myriam Lacroix (2024) / “Surreal, darkly comic and achingly tender, Myriam Lacroix's debut sees a queer love story play out in many alternate realities. What if you had the chance to rewrite the course of your relationship, again and again, in the hopes that it would work out? After Myriam and Allison fall in love at a show in run-down punk house, their relationship starts to unfold through a series of hypotheticals. What if they became mothers by finding a baby in an alley? What if the only cure for Myriam's depression was Allison's flesh? What if they were B-list celebrities, famous for writing a book about building healthy lesbian relationships? How much darker-or sexier-would their dynamic be if one were a power-hungry CEO, and the other her lowly employee? From the fantasies of early romance to the slow encroaching of violence that unravels the fantasy, each reality builds to complete a brilliant, painfully funny portrait of love's many promises and perils. Equal parts sexy and profane, unsentimental, and gut-wrenching, How It Works Out is a formally inventive, arresting, uncanny exploration of queerness, love, and our drive for connection, in any and all possible worlds.”

All the Painted Stars - Emma Denny (@a-kind-of-merry-war) (2024) / “Oxfordshire 1362. When Lily Barden discovers her best friend Johanna's hand in marriage is being awarded as the main prize at a tournament, she is determined to stop it. Disguised as a knight, she infiltrates the contest, preparing to fight for Jo's hand. But her conduct ruffles feathers, and when a dangerous incident escalates out of Lily's control, Jo must help her escape. Finding safety with a local brewster, Lily and Jo soon settle into their new freedom, and amongst blackberry bushes and lakeside walks an unexpected relationship blossoms. But when Jo's past caches up with her and Lily's reckless behaviour threatens their newfound happiness, both women realise that choices must always come at a cost. The question they need to ask is if the cost is worth the price of love…” The cover of the edition coming out in November is SO pretty and lately I’ve been looking for medieval sapphic books like crazy.

Gentlest of Wild Things - Sarah Underwood (2024 - out august 15th) / So this book is by the same author as Lies We Sing to the Sea, and I’m in no rush to read that book (a so-called odyssey retelling even tho the author has admitted to never actually reading the odyssey??) but this one looks compelling. “On the island of Zakynthos, nothing is more powerful than Desire-love itself, bottled and sold to the highest bidder by Leandros, a power-hungry descendent of the god Eros. Eirene and her beloved twin sister, Phoebe, have always managed to escape Desire's thrall. Until Leandros' wife dies mysteriously and he sets his sights on Phoebe. Determined to keep her sister safe, Eirene strikes a bargain with Leandros: if she can complete the four elaborate tasks he sets her, he will find another bride. But it soon becomes clear that the tasks are part of something bigger; something related to Desire and Lamia, the strange, neglected daughter Leandros keeps locked away. Lamia knows her father hides her for her own protection, though as she and Eirene grow closer, she finds herself longing for the outside world. But the price of freedom is high, and with something deadly-something hungry- stalking the night, that price must be paid in blood…” The author said that “Gentlest of Wild Things is a sapphic vampiric twist on the story of Eros and Psyche”

The End Crowns All - Bea Fitzgerald (2024 - out on July 18th) / “Princess. Priestess. The most beautiful girl in Troy. Casandra is used to being adored - and when her patron god, Apollo, offers her the power of prophecy, she sees an opportunity to rise even higher. But when she fails to uphold her end of the agreement, she discovers just how very far she has to fall. No one believes her visions. And they all seem to be of one girl - and the war she's going to bring to Troy's shores. Helen fled Sparta in pursuit of love, but it's soon clear Troy is a court like any other, with all its politics and backstabbing. And one princess seems particularly intent on driving her from the city before disaster can strike... But when war finally comes, it's more than the army at their walls they must contend with. Casandra and Helen might hold the key to reweaving fate itself - especially with the prophetic strands drawing them ever closer together. But how do you change your future when the gods themselves are dictating your demise?” Sapphic retelling of the iliad where Helen and Kassandra end up together

If asked, I’ll also do one with gay books

(No 1950s lesbians because I don’t like pulp fiction :( )

[dorianslayyy]

13 Books Tag Game

Tagged by @bubblegum-blackwood

1) The last book I read:

Iron Flame by Rebecca Yarros - I absolutely devoured this sequel, omg. Obviously it’s nothing fancy or anything like that but hey what’s wrong with a smutty YA? Not to mention DRAGONS

2) A book I recommend:

Perfume by Patrick Süskind - when I read it I had no idea it was a whole entire modern classic, I just picked it up at Oxfam for like 3 for £1 or something but, wow, I can 100% understand how it earned that status! If you like an eery not-too-long horror story with the most beautiful imagery describing some fucked up gothic storylines and a lot of social commentary, you’ll love this book!

3) A book that I couldn’t put down:

Ahhh ok, im gonna say In Memoriam by Alice Winn. The ending was… idk I wasn’t really a fan of the ending, I thought it kind of disengaged and took away from the struggles and severity of war and sexuality the rest of the book portrayed but until that point the rest of the story was everythingggg, there’s a sweet forbidden romance/coming of age/found family in the 1910’s propelling into a story of the horror of WW1 and losing everything you know. All I can really say is that I read it all in one go (more or less) and it had me laughing and sobbing throughout

4) A book I’ve read twice (or more):

I mean… there’s an obvious choice here - The Picture Of Dorian Gray by Oscar Wilde. HOWEVER I’m going to absolutely cheat and also say Wuthering Heights by Emily Brontë, the drama, the trauma, the vast majority of these characters are awful and I love it 🤌🤌

5) A book on my TBR:

So many… so so many… I’m gonna say House Of Leaves by Mark Z. Danielewski tho because it was expensive and it’s cool looking and I’ve actually been meaning to read that for a while but boy howdy it’s huge

6) A book I’ve put down:

The Tale Of The Body Thief by Anne Rice UGHH I’m trying so hard!! It’s so many words with so little going on, and I do enjoy it, I really do, it’s so goofy, but it’s so.. i mean verbose isn’t really quite the right word but you know what I mean. Sorry mutuals :( I just need a break to read something short and silly - which I’ve almost finished the little series I’m currently reading

7) A book on my wish list:

Prophet Song by Paul Lynch - it sounds absolutely soul crushing and miserable, I know this completely contradicts what I just said about being in the mood for a silly read but <333

8) A favorite book from childhood:

Omg 10000x the Skulduggery Pleasant series by Derek Landy, guys you don’t understand, as much as I would love to talk about how my mum and I used to sit and read Anne Of Green Gables before bed or my Enid Blyton obsession when I was like 6, Skulduggery Pleasant was my absolute jam - I must’ve read that series (the original 9 + spin offs) a million times in primary school. I did keep up with phase 2 when that was coming out but I don’t know if I’ll bother with phase 3, I’m just too old now and phase 2 wasn’t all that imo - I think it’s sort of beating a dead horse at this point :( but the original 9 and Maleficent Seven/Armageddon Outta Here were my childhood and I definitely absorbed Valkyrie Cain into my identity as a child so that series probably shaped a big part of who I am and my hobbies as an adult

9) A book you would give to a friend:

Love On The Brain by Ali Hazelwood. Silly, nerdy, fun, a cute little Pride and Prejudice-esque enemies to lovers feat. women in STEM

10) A book of poetry or lyrics that you own:

Ok so anyone who’s seen my other poetry blog @apoemadaykeepsthehoesaway knows my obsession with The Complete Poems of Wilfred Owen (I have a lot of difference versions) AHHH by far my favourite poet - as you can imagine with such a young man, you can clearly see his changing mentalities, his growth as a person and a writer, his influences, and really gather a lot of context for what’s going on with him in general through his poems. And he grew up in all the same areas I grew up in and hung around as a kid/younger teen, which I think adds to my personal interest in him too. Idk ig we’re very close friends on a parasocial level lol.

And ofc there really aren’t that many poets around that give such visceral, truthful, and emotional insights to the First World War as Owen does (also a queer icon). He was my intro to war literature and I have tattoos relating to him, he and his work are just incredible to read about, would highly recommend having a look at Siegfried Sassoon’s war poems too; another very blunt poet who was a celebrity and war protestor at the time and happened to mentor Wilfred Owen, as well as being linked with other influential folks of the time such as Robbie Ross, Stephen Tennant, Rupert Brooke, and Ivor Novello. Ok Ill move on :,)

11) A nonfiction book you own:

Surprisingly I quite like nonfiction, mainly history and essays from philosophers and the like. Speaking of, Friedrich Nietzsche’s Beyond Good And Evil is a pretty solid one I own, I’ve never read anything where the author begins by calling himself and all his coworkers socially inept incels 🥹 but even though I don’t remember the specific reason I bought it (I was reading it to argue against some other philosophers in an essay in college and I really don’t remember who or what it was) I remember it being a really interesting read

Or yknow in a more traditional sense of non-fiction, I also have Notes On A Nervous Planet by Matt Haig. Really helped me get through some stuff, if you’re struggling with anxiety or feeling a bit down lately I’d very much recommend

12) What are you currently reading:

Omg ok, The Hitchhiker Trilogy by Douglas Adams, I’m currently on book 3 of 5 - Life, The Universe, And Everything. Really silly and nonsensical space bs but somehow also a bleakly satirical social commentary on the unseriousness of our ‘serious’ world. Really enjoyable, fairly political to some degree, really short (around or less than 200 pages a book), really fun. Martin Freeman truly was the perfect casting for Arthur Dent in the film of the first book. Full of that quintessentially British cynical humour and of course plenty of cups of tea

To give a little preview, the second book literally opens “The story so far: In the beginning, the Universe was created. This has made a lot of people very angry and been widely regarded as a bad move.”

13) What are you planning on reading next?

Books 4 and 5 of The Hitchhiker Trilogy, and then I suppose I had better carry on reading The Tale Of The Body Thief :D

Tagging whoever wants to have a go, it’s super fun, sorry if I went on a bit on some of these 😅

[notalostcausejustyet]

Photo before the text wall. Credit goes to my good friend who isn’t part of this wonderful void that we all call our community. This late night ramble is brought to you by over a million read words this last month, (GO fanfic writers are some of the most stupidly talented people on the planet) finally coming out to my mother, lighting my life on fire and starting over at 40 and a gnawing and unceasing need to be seen. Here goes nothing.

So, as mentioned I read. I read a lot. And before the last few months it was mostly science fiction or fantasy interspersed with biographies, histories, the likes of Nick Offerman or Raain Wilson, (10/10 recommend both ), any poetry I can find, classic literature of all sorts, tons of psychology and medical journal articles…I read almost everything. But the last month has just been GO fan fiction aside from The Body Keeps The Score and stuff for school. And I’ve noticed something that is an overarching theme in every single one. Choice. And yes, that seems like a very obvious sort of thing, but allow me to expand on that.

It’s first about choosing who you want to be. About choosing to be true to yourself. About choosing to believe that you have worth and are by extension worthy. Worthy of joy. Worthy of love. Worthy of acceptance. It’s about choosing to be brave enough to do the hard thing and grow into who you are and who you are meant to be. And that growth is often, even usually a painful process. But it is chosen again and again, because to deny that growth is to stagnate in the dark. So we choose the light, even as it burns.

The other side of that coin, is that it’s about being chosen. It’s about recognizing past mistakes and making amends and picking up the pieces. And then having someone choose to take you as you are. Maybe still broken, definitely still flawed. A cracked and imperfect vessel and loved no less for it. It’s someone seeing all the shattered bits that make up your soul, and choosing you anyway. Not in spite of it, but because of it. Not because they want to fix you, but because they find you beautiful just the way you are.

So, choice. And it’s late, that’s all sappy and I am very maudlin this evening, but…I think so many of us tell these stories and gravitate towards these characters because we find ourselves somewhere in them. Whether we are the ones choosing, or whether we long to be chosen. Perhaps, sometimes it’s both. I don’t know really. I know there’s hope to be found there. The belief that trying to be brave now, means that someday someone will look at all the cracks where the light shines through, and see something. Not something broken beyond repair, or something that needs repaired. But a chaotic cacophony of jagged lines and brightness and they will see a work of art. They will think to themselves “I choose this”.

That’s the story we write again and again. That’s a book I will read over and over. That’s the thing we can hold onto with clenched fists and tattered but still beating hearts. And so I read and I write and I work and I choose and I HOPE. And I think that many of us do.

Thanks for the void scream y’all

[gummybugg]

Writer Questions Tag!

Thanks for the tag, @tabswrites! Find her post here. I did do this tag at some point, but I wanted to restart!

I'm gonna leave this as a fully Open tag. If anyone wants, they can say I tagged them!

...

[1] What is your absolute all-time favorite idea you’ve ever had?

Forcing myself to write more via peer pressure & to maintain a highly Positive blog to foster confidence in my writing. But also, I would say my wip Crater City, because I just like going Wild writing it. I don't have to hold back my imagination, I just use whatever comes to mind create a new path. I promise it's not as chaotic as that sounds because there is a sound plot, but I give a lot of wiggle room. Very refreshing, and it's a stark contrast to writing essays all day.

[2] Is there a question you’ve been asked in the past that really stands out to you, and you still think about sometimes?

Not a question! But! Every time there’s a song playing and my little sister says “I’m assigning that song to your character.” (And then I tell her it’s on the character’s playlist already, ehehehe) I’m just very passionate about my characters, that’s the moral of the story :’)

[3] What is your favorite part of being a writer? What parts could you take or leave?

I’ll hit you with the double-edged sword called “I got the best idea for a scene at 3 am but I’m sooo tired, but it’s sooo gonna be worth it!” (Yet I never regret doing it)

[4] What is your greatest motivation to write/create?

Probably writing stories that are a culmination of my favorite stories. At least, that's what Crater City is so far. Not a copy, of course, but if all of my favorite apocalyptic/sci-fi media had a child, that's what it would be!

There’s a handful or 2 of some sci-fi webtoons I really adore reading! I would recommend books too, if only I could read them in a timely manner. Comics are just easier for me to consume for the time being.

[5] What is the best piece of advice you’ve ever read or been given as a writer?

Write what excites you and don't worry too much about if others think it's cringe. I’ve seen so many reddit threads of people asking if they can put [insert trope] in their writing, and I wish I could just scream at them: DO IT! IT’S YOUR WRITING! DO WHATEVER YOU WANT! You know there’s gotta be some people out there who’s interested in your story if at least one person you know is into it (You).

[6] What do you wish you knew when you were first starting out writing?

I wish I knew I didn't have to live up to the same expectations my family/others have for my writing. I'm an adult & can write whatever I want! I don't really feel the pressing weight of expectations to please others through my writing as much anymore, unless it's some form of commission/assignment. My characters can be gay, mentally ill, what have you, and I'm lucky I get the freedom to write them how I please.

[7] What is your favorite story you’ve written to completion? Link it if you’d like and can!

I wish I could but alas, I struggle to finish my thoughts in day-to-day life.

[8] What is your favorite out-of-the-box quote?

From one of my English professors, grading my essay: “This analogy doesn’t work here.” Here’s another one: “?????” They’re so silly, I swear.

[9] Which of your characters would you say has the most controversial mindset? Why do you say so, and how do you personally feel about their ideals?

At some point I said Darcy, but I’m feeling spicy today and I’m gonna go with Frasier today (both from my wip Crater City). I think everyone in that story is controversial because I kind of made everyone Unhinged. Well, as they say, “Oops, my bad.”

Anyway, the law isn’t the most important thing to Frasier, as he will do anything to make sure he gets his way. At some point (or maybe not yet) I mentioned how Blair and Elijah are lowkey like Frasier’s godchildren, so you can guarantee he’d use his mayor-assistant powers to make sure they’re safe. Many of the Crater City characters (except Darcy, I think) don’t really care about others outside their relationships, so the traumatic consequences of murder and destruction aren’t at the forefront of their minds.

It really makes me ask myself sometimes what defines a villain. Darcy is running around trying to save humanity by any means necessary (even to the point of merging humans with machines), while the rest of the cast just wants to live selfishly in the moment because they’re not promised a tomorrow. Truly interesting how things are developing. I think it makes them more human, but what do you think?

[10] If you, when you first started writing, met you now, what would younger you think?

My younger self would be surprised I had the potential to get this far. Sometimes it’s very hard to begin writing again, but as soon as I just start, I remember what it’s like to have fun writing!

[elliepassmore]

Ship of Theseus review

5/5 stars Recommended for people who like: puzzles, mysteries, annotated books, murder mysteries, dark academia This is a super interesting book that definitely gives the vibe of one of those murder mystery box games. It tells two stories: one, the 'book' story and the other the annotations written by Jen and Eric. The life of the book really comes from the latter of these two stories and takes place over an unidentified timeline, maybe a year, and includes personal writings as Jen and Eric get to know each other and writings as they try to solve the mystery of who V. M. Straka was. Along with the annotations, there are also pamphlets, newspaper clippings, and postcards, among other things, included between the pages of the book. In the world of this book, V. M. Straka is a well-known writer with an unknown identity. It's a big mystery in the literary world and there are fans and scholars alike dedicated to figuring out the mystery and finding clues from Straka's writings. Eric, one of the characters writing annotations, is an ex-grad student who was doing his PhD research on Straka and, specifically, Ship of Theseus. Despite no longer being a student, he's passionate about his research still and deeply invested in figuring out the mystery. Jen is a newcomer who finds the book when Eric leaves it in the library one night, but she quickly becomes equally invested in figuring out who Straka is, and the two bond over that. There's an element of unlikeableness to both characters at times, but I think over the course of the book that works to make them more realistic. They also both exhibit growth over the course of the book, as is clearly seen in their annotations to one another, and I liked seeing how the 'thems' differed from their earlier annotations (distinguished most clearly by different colored pens). It's also interesting to watch them grow closer through their writings, well before they ever meet in person. Along these same lines, the mystery evolves and grows as they do, and working together Jen and Eric discover things about the Straka mystery that had been uncovered, or relatively little known, until they stumble across it. I have to say, I was very invested in the Straka mystery and loved seeing the little bits of research they included in the margins and the added materials. There's also a code that runs through the footnotes, which was also cool, though I'm thankful Jen writes out what it says, lol. That being said, the Jen/Eric storyline is a little disjointed later on simply because they start meeting in person and not everything they discover needs to be written in the book. It's still relatively easy to follow what's going on though and I don't think it detracted from my enjoyment of the book. The other story, the one Straka wrote, focuses on identity and radicalism and the anonymous helpers vs. the agent in the spotlight, all wrapped up in a neat literary bow. And it is very literary. Straka's book reads like something you might read in a class on literary analysis and is quite loaded with symbolism (again, Eric and Jen come in clutch here and helpfully point out a lot of that symbolism). That literary style isn't going to be everyone's cup of tea, but I was pleasantly surprised to find I was invested in S.'s story (S. being the main character of Straka's book). Like with Jen and Eric, there were times I didn't like S., but overall I found him to be an interesting character and he certainly saw and did a lot of interesting things. When I finished this book I immediately got the sense that I wanted to start over from the beginning and read the annotations chronologically rather than page by page like I did the first time. I think it'll help me piece together certain things on the second go around and pick up on stuff that I didn't initially. This book definitely gives off the feel that subsequent rereads will allow you to pick up on stuff and figure out some of the mysteries in a way you couldn't the first time simply because it was all new to you. That being said, I feel like I got a full experience with the first read, where I read each page and annotations regardless of chronology, and I recommend doing it that way for your first read since it definitely amps up the suspense as you go "wait, why did Jen/Eric just write that? What's going on???" Overall I would say this book is the bookish version of a murder mystery or escape room game. It's got a base story, Straka's 'book,' and then it's got Jen and Eric's annotations and added materials, all adding up to a very layered story with mystery, suspense, and puzzles on all sides. This was definitely one of my most exciting reads of 2022 and very well may be my favorite.

[book-ramblings]

URBAN FANTASY

I quite like Urban Fantasy, it’s not my favourite genre, but it is one I sometimes get a hankering for and nothing else will do.

Nowadays Urban Fantasy tends to be very private detective focused, which I don’t mind, but I have read some of the older stuff which could be a lot of different things, but in a city. The writer I have read the most by here is Charles de Lint, I’ve read a handful of books and a couple of short story collections by him. The first thing I read by him was The Blue Girl, which I loved. I want to read more early Urban Fantasy, let me know if you have any recommendations.

When it comes to the more detective style Urban Fantasy, I’ll have to start with the Dresden Files, it’s the most famous. I really like it. I know it’s popular to dump on it for being sexist, and if it bothers you, then you shouldn’t read it. Personally, I’ve never felt that a character or series has to be perfectly in line with my opinions and morals - I have a brain, and I don’t mind using it tackling these kinds of stories. I actually love Harry quite a lot, in fiction I tend to be drawn to broken and traumatised men.

I’ll do one more male main character and then get to my favourite women. Alex Verus (first book: Fated, author: Benedict Jacka) is a mage, who lives and runs a magic shop in London. The series is finished, and there are twelve books. All the books have a one word title, somthing like: Taken, Cursed or Hidden, which makes it impossible for me to remember the order of the books :) There are some similarities to Harry Dresden, Alex is also a broken, traumatised man, but his magic is very different to Harry’s, and he needs to be sneakier and use his brain more to survive, because his power is seeing a little bit into the future - and while it is useful in combat it’s not a violent power. I really like these books, I’ve read them all, and I love Alex and his friends.

On to the female main characters. I’ll start with October Daye by Seanan McGuire. There are sixteen books out and two more coming in the autumn of 2023, according to goodreads. I’ve read six of them, all of them by audiobook so I’m not sure how anything is spelled. The first book is Rosemary and Rue. October is half Fae, half human and she has a troubled past, and works for a local Fae Lord, Sylvester Torquil. October, or Toby, is a great character, her friends and enemies are quite interesting and her adventures, as far as I’ve read at least, are a great mix of exciting, creepy, scary and fun to read about. It’s probably about time that I read more, actually. Also, the narrator for the audio books is Mary Robinette Kowal, who is not only a fantastic narrator, but also one of my favourite authors.

Next is Mercy Thompson, written by Patricia Briggs. The first book is Moon Called, there are 13 books out. I’ve read five, and the sixth is my current audiobook. The thing I like best about this series is Mercy herself. She’s a college graduate, majored in history, works as a mechanic and she’s a shape shifter - she can turn into a coyote. Her father, who died in a car accident before she was born, was Native American. Mercy’s really cool, and she’s also a good character. She’s strong, and I don’t primarily mean physically, and she’s affected by the things that happen to her. Early in the series there is a bit of a love triangle with two guys being interested in her, which isn’t my favourite, but it doesn’t go on forever.

The last series I’m going to talk about may be my favourite: Kate Daniels by Ilona Andrews. There are ten novels, the first one is called Magic Bites. I have read six of them and currently have number seven out from the library. They all have titles like: Magic Burns, Magic Slays etc, so it’s impossible for me to remember the order of the books. I love Kate, she’s strong (not only physically), she’s tough, determined and really, really cool. I have seen some people call her a Mary Sue, because she’s too good a fighter, but she’s been trained her whole life to fight, because a dangerous and powerful man wants to kill her. And I love a sword fighter. I do not agree that she’s a Mary Sue. There are also some fantastic side characters. And some annoying ones.

I’m not a person who worries much about trigger warnings, I don’t have many triggers, and I don’t mind “dealing with them” through reading, so if this is important for you - find out about them before reading. I also don’t always remember books that well, especially when I only read them for entertainment, which is really how I think about Urban Fantasy. I can tell you that there is sexual assault in Mercy Thompson, though I don’t remember which book. And a giant spider side character in Alex Verus.

What are your favourite Urban fantasy series?

[tradingmaps]

The Paris Review Guide to Becoming a Well-Read, Cultured, and Critically Thinking Person

Dear _________,  What kind of soulless freak could fail to answer your call? Your intelligence glows through your professed ignorance (as does the authenticity of “a very specific religious cult”). That sounds like an educationally less-than-ideal but, in other ways, fascinating childhood. My only piece of advice before recommending some titles would be: don’t fall for the inferiority/superiority racket. We’re not on a ladder here. We’re on a web. Right now you’re experiencing a desire to become more aware of and sensitive to its other strands. That feeling you’re having is culture. Whatever feeds that, go with it. And never forget that well-educated people pretend to know on average at least two-thirds more books than they’ve actually read.

A place to start is with Guy Davenport’s nonfiction collections, Every Force Evolves a Form, The Geography of the Imagination, and The Hunter Gracchus (with more pieces in The Death of Picasso). You’ll learn an enormous amount from these essays and sketches, but almost without realizing, because they give off the pleasure of great stories. Read the title essay in The Hunter Gracchus (about Kafka and the way symbols can take on a life of their own), and see if it isn’t as stimulating and creepy as the last good movie you saw.

Come up with a system of note-taking that you can use in your reading. It’s okay if it evolves. You can write in the margins, or keep a reading notebook (my preference) where you transcribe passages you like, with your own observations, and mark down the names of other, unfamiliar writers, books you’ve seen mentioned (Guy D. alone will give you a notebook full of these). Follow those notes to decide your next reading. That’s how you’ll create your own interior library. Now do that for the rest of your life and die knowing you’re still massively ignorant. (I wouldn’t trade it!)

Read My Ántonia, and then read everything else by Willa Cather. Inside her novels you’ll find it impossible to doubt that high enjoyment and extreme depth can go together. The most difficult art.

Read Isak Dinesen’s Seven Gothic Tales. I’m saying that randomly, because it seems right, and to approve the spirit of randomness.

If you get into a writer, go all the way and check out everything he/she has written. This summer I fell into a Defoe hole. Started with the major stuff, the best novels and the good journalism, and then read everything down to the poems and the tedious political pamphlets, since by that point I was equally interested in him as a human being and wanted to have as accurate a map of the inside of his brain as possible. His is one of the minds that helped shape the modern world—we’re literally still telling his stories—so there’s a vital interest. I read Maximilian Novak’s super-solid biography of him, Master of Fictions. That sort of questy reading ends up enriching your experience of each individual book and piece, and it lends a sense of adventure to the whole business, which after all involves a lot of lying down or sitting on your ass.

Borges and Denis Johnson—anything by either. Edith Wharton’s story “The Young Gentlemen.” (Random, random.) Robert Penn Warren’s All the King’s Men, and then his poems if you’re feeling spry. Find on the Web and buy an old paperback copy of the Robert Penn Warren and Albert Erskine–edited anthology Six Centuries of Great Poetry (a book for life). Read the next two things I’m going to read and then see how you like them: Grant’s Memoirs and Karl Ove Knausgaard’s My Struggle. Read Nabokov’s Speak, Memory and Joan Didion’s Slouching Towards Bethlehem.

Books that got me kick-started were the great modernist biographies, especially Hugh Kenner’s The Pound Era and Richard Ellmann’s life of James Joyce. Read those two books and you’ll have a decent-size grid on which to plot the rest of your reading. I’m somehow moved to spurt out, Stephen Greenblatt’s Will in the World. People have been writing about Shakespeare for half a millennium, and the very best of it just happened.

Ignore all of this and read the next cool-looking book you see lying around. It’s not the where-you-start so much as the that-you-don’t-stop. I was reading Phoenix Force novels until I was like thirteen. These days a lot of people I know are into Murakami. I should have said more novels. If it’s by a Russian, read it.

[jillianallen14]

Spirk fanfic rec

Some amazing Spirk fanfic to bless your dash because I’m falling in love with this shit all over again (this is like the 10th time this has happened lol):

Entering Orbit:  Jim escapes to Iowa to avoid the media frenzy following the Narada incident, but a late-night miscommunication results in Spock turning up on his front porch; rated m; 30,957 words

Papers in the Roadside:  Non-Starfleet AU. Jim owns a small bar in Chicago, keeps on picking up strays and taking care of everyone no matter how hard it makes his own life. Spock is a journalist writing feature articles for the Chicago Tribune; he depicts the world with uncanny skill, but hides more than one personal drama and is possibly under surveillance from the Vulcan royal family. They meet by accident just before their lives start to spin out of control; rated e; 49,637 words

Take Refuge in What You Know:  AU - Kirk has moved into a apartment/house and wants to get to know his neighbors. He meets his neighbor Spock, a loner who suffers from extreme agoraphobia. Kirk thinks he's beautiful enigma; rated e; 120,334 words

Listen, this is not only my favorite Star Trek fic of all time, it’s also one of my favorite fanfics in general. It’s right up there with Text Talk and The Shoebox Project from the HP fandom, which if you’ve read, you know are incredible and frankly life-changing. And this fanfic changed my life. The description the author gives doesn’t do the beauty of this fic justice. I suffer from agoraphobia and Spock’s depiction as an agoraphobic man was probably the most well-researched, sympathetic, empathetic, caring, realistic portrayal of what it’s like to be agoraphobic that I’ve ever witnessed in fiction. It made me cry like a child because I had never felt so seen and understood. This writer is incredible, and this fic is incredible. I can’t recommend it enough. It’s an AU, which I’m usually pretty wary about, but it barely even feels like an AU. It just feels like Jim and Spock. The author’s understanding of both of their characters’ is perfect, like just a spot-on portrayal of who they are. This fic genuinely helped me accept who I am and helped me understand that I am capable of & deserving of love. If you don’t read any other Star Trek fics (and you def should read more Star Trek fics because they’re amazing), then let this one be the one you read. I dare you not to read it three times in a row like I did.

Observations:  First Officer Spock comments on life aboard the Enterprise and his service under Captain James T. Kirk; rated m; 500,000+ words.

So the author of this fic actually did a thing where they made this fic into two books (similar to what The Shoebox Project authors did many years ago in the HP fandom). They don’t get any money from people buying the books; the cost is just to go towards producing the books. This fic is the equivalent of two LARGE novels. We’re talking 600 pages & up. It’s a huge fic. Now, that being said, I read it in one day. ONE DAY. It’s that good. This is another one of my all-time favorite fics, though not quite as dear to my heart as the one I listed above. It’s focused on AOS, and tbh, I forget that what happens in this book isn’t actually canon. Like it’s so well-told, it just feels like it’s now part of the timeless story of Kirk & Spock. The “professional” Star Trek writers would never be brave enough to do what this author does with Kirk and Spock, though. This fic will make you angry, will make you laugh, will make you cry. It has such a good grasp on every single character. It also shows the love between the crew of the Enterprise, which is always a treat, and it’s beautifully done in this fic. It has a sorta-enemies-to-lovers arc between Spirk and an enemies-to-close-friends arc between Spock and McCoy that is beautifully done and fleshed out. This fic is definitely a journey to go through, and I can’t recommend it enough. It’s extremely slow burn, and you will want to slap both Kirk and Spock (and McCoy) upside the head at certain points lol. 

Of Coffee Beans and Green Tea Leaves:  The progression of a relationship, through Coffee Beans and Green Tea Leaves. Basically, it’s an AU where Kirk works at a coffee shop to pay his way through school, and Spock visits often. rated t; 16,429 words

Love, love, love, this fic. It’s cute, it’s in character. They have kind of a rocky start together, so it’s got a little bit of that Elizabeth Bennet and Mr. Darcy i-hated-you-but-now-i-love-you-marry-me vibes to it. I’m a sucker for that, if you haven’t figured that out by now lol. It’s really good, and a really enjoyable read. And it’s not too long, if you’re in the mood for something on the shorter end of things.

 Please Don’t Touch the Vulcans:  The "yes" is out of Jim's mouth before he can think about it. Jim is chipper about having time off for the holidays. He asks everyone if they want to spend time together but sadly, everyone ditches Jim over the holidays because they have plans. McCoy visits his daughter, Nyota visits her family, and everyone splits. Not knowing Spock has feelings for him, Jim doesn't even bother asking if he wants to spend time together figuring he has something to do. Something cute, romantic with the boys spending time with one another and confessions; rated m; 17,690 words

Super cute and has lots of Sarek, which idk about y’all, but I’m always a fan of. Sarek and Jim kind of get to know each other a bit, and it’s cute. Sarek knows about they’re in love before Spock & Kirk know lol. If I remember correctly, there’s also some appearances from everyone’s favorite: Old!Spock! You also get a little bit of jealous and protective Young!Spock. So you’re in for a real treat with this one. 

The Ren shat’var Trilogy:  A split-second decision changes Jim's life forever, as he enters into a bond with Spock in the face of certain torture. Enemies to the Federation emerge from unlikely places, and the command team must contend with unexpected threats, as well as challenges within their own intense relationship. In this three-part series, the Enterprise races across the galaxy to confront the unknown, and Jim and Spock discover the true significance of their unprecedented connection; rated e; 184,411 words

Textual Attraction:  Valentine’s Day does not bring up pleasant memories for Cadet Kirk. But the serendipitous switch-up of his cell phone with a particular Vulcan professor’s will make his day far more interesting –and romantic. Perhaps some new memories can be made! 15,900 words

SO GOOD. Just SO good

Spaceman:  Academy AU. Five times Spock realizes he's attracted to a barista at the academy spaceport, and one time he decides to do something about it. rated t; 3728 words

Short, sweet, funny. You’ll love it.

Subtext: Texting your Vulcan first officer in the middle of the night is never a good idea. Especially when you have an obsessive crush on said Vulcan.The holidays are approaching and Jim is left entirely Spockless aboard the Enterprise when his First takes shore leave on New Vulcan. After some midnight pining, Jim sends a text he instantly regrets. That is, until Spock responds and willingly continues their textual communications to an inevitable conclusion; rated t; 13,032 words

Cute, sweet, funny. It’s a texting fic. I think you’ve probably figured out I love those. This one makes me laugh so fucking hard. Like actually laugh-out-loud-omg-did-i-just-snort kind of funny. Spock is great in this one

All Spock Wants For Christmas:  While Jim is away on a delegation mission, he panics about what to give Spock for Christmas. With help from Bones and Uhura, and in between some spam texting with Spock, Jim realizes he already has the perfect gift. And all it needs is wrapping paper and a bow; rated t; 11,966 words

And here we have another cute, sweet, funny texting fic. Sue me lol

The Morning After:  Jim convinces Spock to take shore leave with him on Risa, hoping the time together will help re-solidify their bond of friendship after some recent tension. Meanwhile, Spock convinces himself he's on Risa for one reason and one reason only, to prevent his wayward captain from getting into trouble. After a passionately illogical night of Romulan Ale and chocolate infused liquor, everything changes when Jim wakes with something other than a hangover filling his head. Something he's sure neither he nor Spock can handle. Because if Jim knows anything for sure, it's that his messed up thoughts belong nowhere near Spock's clean, ordered mind; rated m; 50,381 words

HAHA. This fic fucking cracks me up. You’ve got drunk boys pining over each other & not realizing it. You’ve got accidental marriage. You’ve got bed sharing. It’s great, it’s cute, it’s funny. 

Take This Sinking Boat (And Point It Home):  In which Spock pines, Jim isn’t stupid (except he kind of is), and Christopher Pike has had enough of this bullshit; 6698 words

Pike is great in this one, and it’s super, super funny.

Extracurricular Activities:   Spock returns to the Academy from a tour of duty to find an intriguing cadet captures his attention; rated e; 15,433 words

Veritas: Basically, Kirk and Spock are on trial because the Federation thinks they are emotionally compromised by each other, which is putting the lives of their crew in danger. They have to convince a court they’re not actually in love with each other. They think the claims are bullshit. They think it will be easy to prove that they aren’t in love or emotionally compromised, damn it. It isn’t; rated m; 186,80 words

This one is so, so good. A real gem off of Fanfic.net. I remember it was actually one of the first Spirk fanfics I ever read, and it blew me away. The progression of their relationship is really well-done and interesting. It has star-crossed lovers vibes and has some really emotionally intense moments in it, especially for Spock. 

A Habitual Affection:  Living in 1930s New York with the Vulcan you're secretly in love with is no simple thing. But Jim never liked anything simple. And then, the big snowstorm hit...; rated t; 7998 words

A beautiful TOS fic about one of the gayest episodes of Star Trek. Love this one. 

Atlas:  Between what was and what will be stands James Tiberius Kirk, in all his fractured patchwork glory. Because saving the Federation was only the beginning; rated t; 135,529 words

A beaut. Really great characterization, and the progression of Jim and Spock’s relationship is really well-done.

[writingwithcolor]

Jewish author writing about antisemitism; should I include racism too?

anonymous asked:

Hi! I'm a white Jewish person who's writing a story set in a fantasy world with a Jewish-coded culture. It's important to me to explore antisemitism in this distanced setting, and explore what the Jewish diaspora means to me. I have a lot of people of color in my story as well. I don't know whether I, as a white person, should include racism in a story if it isn't necessary, but I also don't want to erase the aspects of many mildly/moderately assimilated cultures that are affected by racism, and I also don't want to imply somehow that antisemitism is a more serious issue than racism, which is obviously not the case. I was thinking that bigotry might be more culture-based rather than ethnically or racially based, but again, I'm not sure how or whether to write about bigotry against cultures + groups based on cultures + groups that I'm not a part of, and people of color in the story would obviously have their own cultural elements. Is acknowledging bigotry necessary?

It's okay to focus on antisemitism

Other mods have important advice on what exactly might be helpful or applicable to include in your story and how. I want to take a moment with the anxiety you express that focusing on antisemitism and not talking about other types of xenophobia will imply to your readers that you think antisemitism is “more serious” than other forms of bigotry. I hear and honor that anxiety, especially since “Jews only care about Jews” is a stereotype that never seems to go away, so I’m going to say something revolutionary:

It’s okay to center Jews in a story about antisemitism.

There, I said it. But I’m not making the case that you shouldn’t include references to or depictions of other types of bigotry in your story. There are a lot of great reasons why you should, because of what it can do for the complexity of your characters, the depth of your worldbuilding, or the strength of your message about the nature of xenophobia, diaspora, etc.

- How your non-Jewish-coded characters react to the things they experience can affect whether they sympathize over or contribute to the antisemitism at the heart of your story.

- How other types of xenophobia do and don’t manifest in your world can help explain why your world has antisemitism in the first place, and what antisemitism consists of in a world that also contains other minorities outside of the fantasy mainstream culture.

- Including other real-world xenophobia can help you set your antisemitism in context and contrast to help explain what you want to say about it.

Both your story and your message might be strengthened by adding these details. But if you feel the structure of your story doesn’t have room for you to show other characters’ experiences and you’re only considering doing it because you’re afraid you’ll be upholding a negative stereotype of yourself if you don’t, then it might help to realize that if someone is already thinking that, nothing you do is going to change their mind. You can explore antisemitism in your story, but you don’t have the power to solve it, and since you don’t have that power you also don’t have that responsibility. I think adding more facets to your story has the potential to make it great, but leaving it out doesn’t make you evil.

- Meir

Portraying xenophobia

As someone living in Korea and therefore usually on the outside looking in, I feel that a lot of people in Western countries tend to conflate racism and xenophobia. Which does make sense since bigots tend to not exactly care about differences between the two but simply act prejudiced against the “other”. Sci also makes a point below about racialized xenophobia. I feel these are factors contributing to your confusion regarding issues of bigotry in your story.

Xenophobia, as defined by Dictionary.com, is “an aversion or hostility to, disdain for, or fear of foreigners, people from different cultures, or strangers”. You mention “thinking that bigotry might be more culture-based”, and this description fits xenophobia better than most other forms of bigotry. Xenophobia can be seen as an umbrella term including antisemitism, so you are technically including one form of xenophobia through your exploration of antisemitism.

I understand your wariness of writing racism when it doesn’t add to the plot, especially as a white writer. Your concerns that you might “erase the aspects of many mildly/moderately assimilated cultures that are affected by racism” is valid and in fact accurate, since exclusion of racism will of course lead to lack of portrayals of the intersections between racism and xenophobia. I want to reassure you that this is not a bad thing, just a choice you can make. No one story (or at least, no story that can fit into one book) can include all the different forms of oppression in the world. Focusing on one particular form of oppression, particularly one you have personal experience with, is a valid and important form of representation.

You also comment that you “don't want to imply somehow that antisemitism is a more serious issue than racism”, but I honestly feel that doesn’t need too much concern. Much like how queerness and disability are two separate issues with intersections, racism and xenophobia form a Venn diagram, with large intersections but neither completely including the other. A story focusing on autistic characters that doesn’t also have queer rep doesn’t imply queer issues are less serious. Likewise, a story focusing on antisemitism doesn’t imply racism is less serious.

I am slightly more concerned that there might be an accidental implication of antisemitism being a more serious issue compared to other forms of xenophobia. Of course, exploring antisemitism alone is completely valid representation, and there’s no need to go out of your way to try and portray other forms of xenophobia. A microaggression or two, or maybe a mutual bitch out session with a gentile but marginalized friend should be enough to show that antisemitism isn’t more (or less) serious compared to other forms of xenophobia.

-Rune

Avoiding racialized xenophobia

I think one thing you have to be careful with here is racialized xenophobia. Are your characters of color getting disproportionately more xenophobia than your white characters? You might be falling into the trap of racialized xenophobia, which falls under racism, which you want to avoid. An example would be “all Chinese scientists are untrustworthy, but not you, you’re one of the ‘good ones.’” Although this is technically xenophobia, it is also racism.

--Mod Sci

In the case you choose to include even small snippets of other forms of xenophobia in your story, attempting to portray xenophobia without the complications of racism can be a difficult process when they often go hand in hand (especially to a Western audience). So here are a couple of suggestions I have of portraying xenophobia without racism.

First and the simplest method is portraying xenophobia between people of the same race. For example, there is definitely xenophobia against Chinese and Japanese people in Korea, but it would be difficult to claim there is a racial component when all of us are East Asian. (Something you might want to be aware of here is intersections with colorism, where even within the same race, lighter skin and other more westernized features are considered more desirable. I suggest looking through our colorism tag for more details)

Another idea is to include microaggressions for specific cultures rather than something more broad. For example, calling Korean food stinky because kimchi has a strong scent is specifically xenophobic against Koreans, while commenting on small eyes can be directed against Asians in general.

Finally, while antisemitism is a form of ethnicity-based xenophobia, it is also a form of religion-based xenophobia. Muslims and Buddhists and Hindus can absolutely be xenophobic against each other with no racism involved. Should you choose this method, particularly if religious xenophobia is only shown in a shorter scene, I suggest you try and avoid portraying any of the above religions as the Bad or Oppressive ones. As a Christian I will unironically tell you that Christianity is a safe choice for a religiously xenophobic character, as we’re far less likely to face backlash compared to any other religion, and inspiration should unfortunately be overflowing in real life.

-Rune

Other forms of ethno-religious oppression

Here is my TCK perspective as someone brought up in diverse environments where there are often other axes of oppression including religion, ethnicity and class:

Racism and xenophobia can definitely be apples to oranges, so creating a universe where racism no longer exists or has never existed seems doable to me. Perhaps in your fantasy world, structures that buttress racism, such as colonization, slavery and imperialism, are not issues. That still won’t stop people from creating “Us versus Them” divisions, and you can certainly make anti-semitism one of the many forms of xenophobia that exists in this your story. Meir has hinted that your reluctance to declaratively show the harm of anti-semitism indicates a level of anxiety around the topic, and, as someone non-Jewish but also not Christian or Muslim, my perspective is as follows: I’ve always viewed anti-semitism as a particularly virulent form of ethno-religious xenophobia, and while it is a unique experience, it is not the only unique experience when it comes to ethno-religious xenophobia. I think because the 3-way interaction between the Abrahamic religions dominates much of Western geopolitics, that can be how it looks, but the world is a big place (See Rune’s comments for specific examples).

To that effect, I recommend prioritizing anti-semitism alongside other non-racialized forms of xenophobia along ideological, cultural and class-based lines for both POC and non-POC characters. Show how these differences can drive those in power to treat other groups poorly. I conclude by encouraging you to slowly trace your logic when depicting xenophobia towards POC characters in particular. Emphasize bigotry along axes of class and ideology, rather than traits linked to assumed biologically intrinsic features. Ultimately, I think recognizing commonalities between forms of ethno-religious oppression as a whole will help make you more comfortable in depicting anti-semitism with the seriousness it deserves without feeling as though you are trivializing the experiences of other groups.

- Marika

Worldbuilding ethnically and racially diverse cultures

As has been mentioned by other mods, I think it’s completely fine to focus your story on antisemitism and not portray other forms of bigotry if that’s the focus and scope of the story you want to tell. My fellow mods have also offered several valuable suggestions for writing about “culture-based bigotry” in general if that’s what you want to do, while making sure it’s not coming off as racially based. One element I can add is that from a worldbuilding standpoint, it will also help to have your fantasy cultural groups be ethnically and racially diverse. After all, this was common historically in several parts of the world, and depending on which cultures you’re basing your coding on, you could absolutely have fantasy cultures in your world that include characters we would read (according to our modern-day standards) as white, and others that we would read as people of color, within the same fantasy culture. All these characters would face the same culture-based bigotry (such as xenophobia or religious oppression), even though they are read by a modern audience as different races.

As a note, the reason I say “read as” and “according to our modern-day standards” is that the entire concept of whiteness as we know it is very specific to our current cultural context. Who is and isn’t considered white has changed quite a lot over time, and is still the subject of debate today in some cases. Your work will be read by a modern audience, so of course, you need to take into account our current understanding of race and the dynamics surrounding it. However, it’s also helpful to remember that our modern racial categories are fairly new in the context of the many millennia of history of humankind, and that they are certainly not inevitable. Don’t fall into the trap of thinking a fantasy culture has to align itself entirely with modern-day racial categories.

- Niki

[duckprintspress]

Ten Things We Hate About Trad Pub

Often when I say “I’ve started a small press; we publish the works of those who have trouble breaking into traditional publishing!” what people seem to hear is “me and a bunch of sad saps couldn’t sell our books in the Real World so we’ve made our own place with lower standards.” For those with minimal understanding of traditional publishing (trad pub), this reaction is perhaps understandable? But, truly, there are many things to hate about traditional publishing (and, don’t get me wrong - there are things to love about trad pub, too, but that’s not what this list is about) and it’s entirely reasonable for even highly accomplished authors to have no interest in running the gauntlet of genre restrictions, editorial control, hazing, long waits, and more, that make trad pub at best, um, challenging, and at worst, utterly inaccessible to many authors - even excellent ones.

Written in collaboration with @jhoomwrites, with input from @ramblingandpie, here is a list of ten things that we at Duck Prints Press detest about trad pub, why we hate it, and why/how we think things should be different!

(Needless to say, part of why we created Duck Prints Press was to...not do any of these things... so if you’re a writer looking for a publishing home, and you hate these things, too, and want to write with a Press that doesn’t do them...maybe come say hi?)

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1. Work lengths dictated by genre and/or author experience.

Romance novels can’t be longer than 90,000 words or they won’t sell! New authors shouldn’t try to market a novel longer than 100,000 words!

A good story is a good story is a good story. Longer genre works give authors the chance to explore their themes and develop their plots. How often an author has been published shouldn’t put a cap on the length of their work.

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2. Editors assert control of story events...except when they don’t.

If you don’t change this plot point, the book won’t market well. Oh, you’re a ten-time bestseller? Write whatever you want, even if it doesn’t make sense we know people will buy it.

Sometimes, a beta or an editor will point out that an aspect of a story doesn’t work - because it’s nonsensical, illogical, Deus ex Machina, etc. - and in those cases it’s of course reasonable for an editor to say, “This doesn’t work and we recommend changing it, for these reasons…” However, when that list of reasons begins and ends with, “...because it won’t sell…” that’s a problem, especially because this is so often applied as a double standard. We’ve all read bestsellers with major plot issues, but those authors get a “bye” because editors don’t want to exert to heavy a hand and risk a proven seller, but with a new, less experienced, or worse-selling author, the gloves come off (even though evidence suggests time and again that publishers’ ability to predict what will sell well is at best low and at worst nonexistent.)

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3. A billion rejection letters as a required rite of passage (especially when the letters aren't helpful in pinpointing why a work has been rejected or how the author can improve).

Well, my first book was rejected by a hundred Presses before it was accepted! How many rejection letters did you get before you got a bite? What, only one or two? Oh…

How often one succeeds or fails to get published shouldn’t be treated as a form of hazing, and we all know that how often someone gets rejected or accepted has essentially no bearing on how good a writer they are. Plenty of schlock goes out into the world after being accepted on the first or second try...and so does plenty of good stuff! Likewise, plenty of schlock will get rejected 100 times but due to persistence, luck, circumstances, whatever, finally find a home, and plenty of good stuff will also get rejected 100 times before being publishing. Rejections (or lack there of) as a point of pride or as a means of judging others needs to die as a rite of passage among authors.

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4. Query letters, for so many reasons.

Summarize all your hard work in a single page! Tell us who you’re like as an author and what books your story is like, so we can gauge how well it’ll sell based on two sentences about it! Format it exactly the way we say or we won’t even consider you!

For publishers, agents, and editors who have slush piles as tall as Mount Everest...we get it. There has to be a way to differentiate. We don’t blame you. Every creative writing class, NaNoWriMo pep talk, and college lit department combine to send out hundreds of thousands of people who think all they need to do to become the next Ernest Hemingway is string a sentence together. There has to be some way to sort through that pile...but God, can’t there be a better way than query letters? Especially since even with query letters being used it often takes months or years to hear back, and...

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5. "Simultaneous submissions prohibited.”

No, we don’t know when we’ll get to your query, but we’ll throw it out instantly if you have the audacity to shop around while you wait for us.

The combination of “no simultaneous submissions” with the query letter bottleneck makes success slow and arduous. It disadvantages everyone who aims to write full-time but doesn’t have another income source (their own, or a parents’, or a spouse’s, or, or or). The result is that entire classes of people are edged out of publishing solely because the process, especially for writers early in their career, moves so glacially that people have to earn a living while they wait, and it’s so hard to, for example, work two jobs and raise a family and also somehow find the time to write. Especially considering that the standard advice for dealing with “no simultaneous submissions” is “just write something else while you wait!” ...the whole system screams privilege.

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6. Genres are boxes that must be fit into and adhered to.

Your protagonist is 18? Then obviously your book is Young Adult. It doesn’t matter how smutty your book is, erotica books must have sex within the first three chapters, ideally in the first chapter. Sorry, we’re a fantasy publisher, if you have a technological element you don’t belong here…

While some genre boxes have been becoming more like mesh cages of late, with some flow of content allowed in and out, many remain stiff prisons that constrict the kinds of stories people can tell. Even basic cross-genre works often struggle to find a place, and there’s no reason for it beyond “if we can’t pigeon-hole a story, it’s harder to sell.” This edges out many innovative, creative works. It also disadvantages people who aren’t as familiar with genre rules. And don’t get me wrong - this isn’t an argument that, for example, the romance genre would be improved by opening up to stories that don’t have “happily ever afters.” Instead, it’s pointing out - there should also be a home for, say, a space opera with a side romance, an erotica scene, and a happily-for-now ending. Occasionally, works breakthrough, but for the most part stories that don’t conform never see the light of day (or, they do, but only after Point 2 - trad pub editors insist that the elements most “outside” the box be removed or revised).

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7. The lines between romance and erotica are arbitrary, random, and hetero- and cis-normative.

This modern romance novel won’t sell if it doesn’t have an explicit sex scene, but God forbid you call a penis a penis. Oh, no, this is far too explicit, even though the book only has one mlm sex scene, this is erotica.

The difference between “romance” and “erotica” might not matter so much if not for the stigmas attached to erotica and the huge difference in marketability and audience. The difference between “romance” and “erotica” also might not matter so much if not for the fact that, so often, even incredibly raunchy stories that feature cis straight male/cis straight female sex scenes are shelved as romance, but the moment the sex is between people of the same gender, and/or a trans or genderqueer person is involved, and/or the relationship is polyamorous, and/or the characters involved are literally anything other than a cis straight male pleasuring a cis straight female in a “standard” way (cunnilingus welcome, pegging need not apply)...then the story is erotica. Two identical stories will get assigned different genres based on who the people having sex are, and also based on the “skill” of the author to use ludicrous euphemisms (instead of just...calling body parts what they’re called…), and it’s insane. Non-con can be a “romance” novel, even if it’s graphically described. “50 Shades of Gray” can sell millions of copies, even containing BDSM. But the word “vagina” gets used once...bam, erotica. (Seriously, the only standard that should matter is the Envelope Analogy).

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8. Authors are expected to do a lot of their own legwork (eg advertising) but then don't reap the benefits.

Okay, so, you’re going to get an advance of $2,500 on this, your first novel, and a royalty rate of 5% if and only if your advance sells out...so you’d better get out there and market! Wait, what do you mean you don’t have a following? Guess you’re never selling out your advance…

Trad pub can generally be relied on to do some marketing - so this item is perhaps better seen as an indictment of more mid-sized Presses - but, basically, if an author has to do the majority of the work themselves, then why aren’t they getting paid more? What’s the actual benefit to going the large press/trad pub route if it’s not going to get the book into more hands? It’s especially strange that this continues to be a major issue when self-publishing (which also requires doing one’s own marketing) garners 60%+ royalty rates. Yes, the author doesn’t get an advance, and they don’t get the cache of ~well I was published by…~, but considering some Presses require parts of advances to get paid back if the initial run doesn’t sell out, and cache doesn’t put food on the table...pay models have really, really got to change.

-

9. Fanfiction writing doesn't count as writing experience

Hey there Basic White Dude, we see you’ve graduated summa cum laude from A Big Fancy Expensive School. Of course we’ll set you up to publish your first novel you haven’t actually quite finished writing yet. Oh, Fanperson, you’ve written 15 novels for your favorite fandom in the last 4 years? Get to the back of the line!

Do I really need to explain this? The only way to get better at writing is to write. Placing fanfiction on official trad pub “do not interact” lists is idiotic, especially considering many of the other items on this list. (They know how to engage readers! They have existing followings! They understand genre and tropes!) Being a fanfiction writer should absolutely be a marketable “I am a writer” skill. Nuff said. (To be clear, I’m not saying publishers should publish fanfiction, I’m saying that being a fanfiction writer is relevant and important experience that should be given weight when considering an author’s qualifications, similar to, say, publishing in a university’s quarterly.)

-

10. Tagging conventions (read: lack thereof).

Oh, did I trigger you? Hahahaha. Good luck with that.

We rate movies so that people can avoid content they don’t like. Same with TV shows and video games. Increasingly, those ratings aren’t just “R - adult audiences,” either; they contain information about the nature of the story elements that have led to the rating (“blood and gore,” “alcohol reference,” “cartoon violence,” “drug reference,” “sexual violence,” “use of tobacco,” and many, many more). So why is it that I can read a book and, without warning, be surprised by incest, rape, graphic violence, explicit language, glorification of drug and alcohol use, and so so much more? That it’s left to readers to look up spoilers to ensure that they’re not exposed to content that could be upsetting or inappropriate for their children or, or, or, is insane. So often, too, authors cling to “but we don’t want to give away our story,” as if video game makes and other media makers do want to give away their stories. This shouldn’t be about author egos or ~originality~ (as if that’s even a thing)...it should be about helping readers make informed purchasing decisions. It’s way, way past time that major market books include content warnings.

Thank you for joining us, this has been our extended rant about how frustrated we are with traditional publishing. Helpful? No. Cathartic? Most definitely yes. 🤣

*

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[thewhitefluffyhat]

Thoughts on Gideon the Ninth

This post isn’t an analysis or even truly a review. It’s more like a loose collection of thoroughly subjective opinions on random aspects of the book. It exists mostly to provide context on any other posts I make.

But it also exists because I can never get enough of reading about other people’s experiences with fiction I enjoy, so it felt right to contribute my own post in return. :)

My first exposure to this series was definitely through tumblr. I came in already familiar with the whole “lesbian necromancers explore a haunted gothic palace in space” description, and it felt like half the people I followed on this hellsite were into the series. (Since reading the books and being able to recognize the characters more, I’ve found that the true amount is closer to 3/4, heh.)

Other vague details about this series I’d absorbed through General Tumblr Osmosis: I knew the main protagonist was a badass lesbian with a Cool Sword (nice), I knew there was some kind of enemies-to-lovers-ish arc (awesome, my fave dynamic), I knew there was someone named Ianthe who had a skeleton arm and was the Worst (rad, couldn’t wait to meet her), and also something something homebrew lobotomy in the second book(what???)? It all added up to quite the intriguing picture!

I then bought GtN as a Christmas present for myself last December. After having a very disappointing (and frustratingly queerbait-y) experience in my last fandom, I was feeling burnt out and extremely cynical. I’d said at that time that it’s foolish to trust writers who aren’t queer to do justice by queer characters… meaning, it was long past time I got around to reading a bunch of queer books by queer authors that I’d seen widely recommended but had passed on because I majored in Anime Nerd.

As it happened, I started reading the book one random Friday afternoon sometime during the holidays. 

I then proceeded to not put it down until literally 9 a.m. the following morning.

Now, to be fair, reading through the night and past sunrise isn’t super uncommon for me, but it doesn’t just happen for anything. (This also meant I got to the real juicy horror bits at like 4 a.m., an experience I can highly recommend.)

And after I finished the book… I took a deep breath, went to bed, and spent the next afternoon ranting to my little brother as I tried to iron out some rather mixed thoughts!

Things I took a while to warm up to:

-I know lots of people love Gideon as a narrator and protagonist - and very deservedly so, since sympathetic yet unapologetically butch protagonists like her are so woefully rare! - but she actually didn’t click with me at first, haha.

-As a sex-averse-ish ace, and as someone whose prior experiences with horny protagonists in published fiction has mostly been of the Gross Anime Dude variety, I absolutely did not know what to make of Gideon’s very openly lesbian brain. I kept expecting her to turn around and slap me in the face by abruptly becoming an unlikeable creep (see: Keiichi, Battler). 

And then she… didn’t? What? A horny protagonist that didn’t make me want to stab my eyes out? Even after I finished the book, I was struggling to wrap my head around that aspect of her. (Even now, I’m still not sure I can put my finger on what makes her so different from an Awful Anime Dude - but I suspect it’s in the way that Gideon is so kind and genuinely respectful of other people’s boundaries. No random humiliation-as-titillation jokes here!)

-Meanwhile another thing I had a hard time with was - and this will sound exceptionally silly - oh boy I am so very much not an athlete and I love magic and magic worldbuilding. So for me, a significant part of the book was mentally wanting to shake Gideon and yell at her to Pay Attention to the Necromancy Dammit! It’s cool and interesting and I wanna to know more, sure your swords are nice but I don’t care about swords that much! XD

-And, perhaps most oddly: I did not know what to make of the main relationship arc. Because - especially at the start - Gideon and Harrow’s relationship was a lot more fraught and unequal than I was expecting. I also tend to take characters at face value about how they say they feel (until proved otherwise) - so initially, I completely believed Gideon when she narrates about how all she wants is to leave the Ninth and for Harrow to die in a fire. Which then made scenes like where she goes to save Harrow from dying in a bone cocoon seem like a very abrupt and confusing reversal, haha.

It all added up to something that didn’t quite feel like a typical enemies-to-lovers. Like it was something else that felt weirdly familiar and just on the tip of my tongue but I couldn’t remember what it was…

And then after I finished the book I learned that the author was a former Homestuck and OH. They were each others’ KISMESIS! Suddenly all the pieces fell perfectly into place and I was all EXCELLENT YES GOOD CARRY ON.

-(Tangent: my experience with Homestuck is that I encountered and read through it during the Act 6 hiatus while I was on break during college. I thought it was decently interesting, enough that I stuck around to read a few fanfics afterward. Then I just moved onto other things. And nothing I’ve heard about the author or the rest of the story has really made me want to go back and finish it. *shrug*

So while I’m certainly familiar with Homestuck, I am by no means an expert or even really a true fan or anything. Homestuck appears to be one of those things you either love it or hate it, and I’m a weirdo who just finds it “okay I guess.” Honestly, I’ve found it most interesting as a thing that went on to inspire other things! *cough* Undertale *cough*)

Things that are apparently controversial but didn’t bother me:

-The writing style: Gosh, I loved Muir’s style. How to even describe it? “gothic shitpost” is what I said to my brother. A swirl of lurid, almost purple prose spiked with sudden and irreverent memes that manages to be beautiful in one moment and laugh-out-loud hilarious the next.

Of course, one of my other favorite authors is Terry Pratchett, so the idea that pulpy genre works with humorous narration can also have Big Themes and invoke genuine emotion and drama didn’t come as a surprise for me in the slightest.

What maybe did surprise me a little was how… comfortable? this narrative style felt for me. I had been reading tumblr posts for years before I even made an account, and I’d been reading fanfiction even longer. So for me, the “unusual” slant of Muir’s writing wasn’t unusual at all. It was more of a slow realization of  “ahh. one of My People.”

-I’ve seen some people turned off by the way these books throw you in at the worldbuilding deep end and expect you to roll with it. But as I was reading, I didn’t even notice it, let alone register it as something to be bothered by? Diving in headfirst and learning the LoreTM as I go along is how I approach a lot of things, heh. Did I know the meaning of all the anatomy terms being tossed around? Hell no, but as long as I could make a decent assumption from context, that was fine by me!

(Not knowing much anatomy does, however, mean that writing fanfic for this series is going to be… just a little intimidating. eep. ^^;)

-The elephant impaled on a fence post in the room: Gideon’s death. So fair’s fair, I sure do love me some Angst and Suffering (see also: everything else on this blog). However, had I read the book on release, then the blatant Bury Your Gays might have made me more pessimistic and nervous (especially after those previously mentioned bad experiences…). But luckily I didn’t do that. I went into this book with the knowledge that the series continued and people were still raving about it. So I was willing to extend the author a tiny bit of trust.

Plus, of course, there was all the necromancy! Bury Your Gays, meet a very determined girl with a magic shovel. (See also: Madoka Magica Rebellion, which may merit a whole comparison post… but that’s for HtN and another time.)

-So yeah. I finished Gideon the Ninth, poured out all my jumbled feels and confusion to my little brother… and then put the series aside. Like, sure, I quite enjoyed it, and the writing/worldbuilding was so good that I was interested to read more eventually. But I wasn’t, like, obsessed or frothing at the mouth to read the sequel. I very rarely buy books for myself these days, and I had other things I was doing at the time. Like still attempting to write my Higurashi fanfic… :,)

Next time: Harrow the Ninth

[miraculouscontent]

There was an anon who responded to this post about “what if they make Luka evil to try and end Lukanette and make Adrien look better by comparison” and it was absolutely fantastic so I’m just gonna slap their whole thing here:

Anonymous asked:

i wanted to respond to that anon asking about "wyd if they make luka evil" from a slightly more metatextual/philosophical angle, bc "dealing with a thing you like doing something you dont like" is something i'm pretty interested in as like, how do you enjoy fandom if the thing you like could be ripped away at any moment by shitty writers? and the answer, ive found, is to just say no

stepping back a little, let's look at the idea of the spacetime continuum. (bear with me lol.) as most people with an interest in the area know, space and time are not so much separate things as merely that we are fourth-dimensional beings who can only view the lower 3 dimensions. from a 5th-dimensional perspective, time is just another dimension, and the whole of time can  be viewed in its entirety from outside of itself, in the way you can view an entire rubix cube by picking it up and moving it around

and what is a story, but a single spacetime continuum? a single ribbon of time and space, which we move through, and then can step outside of and view from a nonlinear perspective? fanfiction (especially "missed scene"/"canon divergence" fanfic) is essentially taking this ribbon of spacetime and picking spots along it wherever you like to flesh out or peel off and explore alternatives

now, moving back into the question. all fiction is equally fictional. fanfiction is not any less fictional than the original work; the original work has no more weight on reality than the fanfiction, because both are equally made up. the only difference between fanfiction and original fiction (beyond the parent-child difference of derivative work and the work it derives from) lies in the capitalist realm of profitability and copyright law, social structures which lend more weight and power to original fiction than derivative fiction 

stepping back again. have you ever felt like you're "not allowed" to put down a book, even if you aren't enjoying it? like it's some sort of crime not to finish what you've started? i think most people have. there's a pervasive myth that you owe something to a story you are reading. reality is, you can just stop. you can put it down, and never find out how it ends. and - here's a fun kicker - you can still write fanfiction about it. if you got halfway through a book and suddenly it started not being fun, that doesn't negate the fun it was before 

this ties into some mild discourse ive seen (by which i mean one post that i thought was fucking hilarious in a "damn you really live like this?" way) about if salty miraculous fans should be "allowed" in the fandom. which is a ridiculous statement on its face; as if you can just decide a whole portion of the fandom "isnt allowed" and they'll all just shrug and pack their bags. but like, of course you're allowed to make art about something you don't like. as long as you're still having fun, you can interact with a work however the hell you want. even if youre not having fun tbh! tho i don't recommend that lol, there are better things to do with your time than pursue a hobby you don't enjoy

gonna loop into a completely different fandom; homestuck (sorry). at a point late in the game in the story, a narrative decision was made that would negate a LOT of the previous story. a lot of fans were understandably upset by this; they felt as though it negated the entire reading experience, as if they had slogged through, enjoyed, gotten invested in, THOUSANDS of pages, THOUSANDS of words of dialogue, TONS of character development, for nothing.

but imo, just because later in the story that stuff no longer exists, doesn't mean it doesn't exist earlier in the story. this isn't a rewrite before a final draft is published; this is an ongoing tale. the previous stuff still happened; you still experienced it; you can still write those versions of the characters, write in that portion of the timeline. however much the retcon powers may pretend to be retcon powers, those pages didn't get deleted. your experience of them didn't get deleted.

you can simply decide to ignore the parts that you don't like and continue writing as though they never happened. you have the power, and the right, to do that. canon isn't any more real than fanfiction, and fanfiction isn't any more fake than canon. you can just decide that canon is wrong, and operate under your own series of events. it's basically what saltfic writers are doing anyway; deciding "canon is wrong for declaring these mean things about marinette, we are going to declare they are untrue and write accordingly." capping this off with a little love note to saltficcers - i havent actually seen beyond s1 xcept for select episodes, but i got sucked into the ladyblog au and have been mildly in love with the entire salty half of the fandom ever since. yall make such phenomenal art and it makes me so happy ♡

[maverick-werewolf]

Werewolf Fact #63 - Werewolf Women

There’s a common - and very silly - misconception that there are “no female werewolves” in folklore. This couldn’t be further from the truth. Yes, there are certainly far more werewolf men than women, but let’s go over the why of that and also cover how there are certainly werewolf women, too.

I’ve given a few talks about this, as a woman who loves werewolf legends, so you might imagine it’s pretty important to me for people to understand that a werewolf woman isn’t a uniquely modern concept.

There are actual arguments out there claiming that all werewolves are male and, oh no, there’s never been any female werewolves in folklore so we have to make our own in popular culture. That’s a ridiculous statement made by people who clearly have never bothered reading the legends.

The werewolf curse is in itself defined as “a man or a woman who turns into a wolf” in some of our oldest sources. There’s no exclusion of women.

There are two big reasons why most werewolf stories are about men: first of all, stories of these various time periods focused on men more than women. Women appeared in many, many werewolf legends, but they were not often the werewolf in question, as they were usually reactionary instead of being the protagonist. This is because werewolves were generally someone in the role of a warrior, a knight, a guardian, a ruler/king, an outlaw, etc., roles at that point in time not regularly attributed to women (though some of these were too, at times! But we won’t get into historical discussion beyond the matter at hand).

Is it true that some werewolf legends were quite unfair to women, as were many stories and legends of all these time periods? Yes. Take the “werewolf husband” folklore element, for example. These stories are all about the treachery of unfaithful wives, like Bisclavret (no one can make me dislike Bisclavret, though, despite that), Melion, Arthur and Gorlagon, etc.

Anyway, getting back on track, let’s talk about actual werewolf women...

In the werewolves of Ossory story, which I detailed here, one of the werewolves who talks to the priest is an old woman.

There are plenty of werewolf grandmas out there, as detailed here.

There are other Chinese werewolf women; a good source on them is this book here, which is a translation of stories instead of retellings or someone’s interpretation, which is always preferable. One of my personal favorites features a werewolf woman betrothed to a guy, turns out she doesn’t like him, so she eats him and her entire werewolf entourage eats his entourage and all their horses and they get away scot free.

There’s one obscure Armenian story in which the werewolf is specified to be a woman who wears a wolf skin. You can find it mentioned in one of my favorite werewolf sources, The Book of Werewolves by Sabine Baring-Gould.

A 1615 treatise by Jean de Nynauld mentions a story about a woodsman who was attacked by a wolf, cut off its paw, and then later found a woman missing a hand - that woman was then burned alive for being a werewolf (bearing in mind this was during the time when werewolves were now seen as evil, as I discuss at length in various werewolf facts). This story was retold and adapted in various forms in various  places. You can find Nynauld’s variant of the story in Baring-Gould’s book as well.

I’ve been asked before about good sources for female werewolves. Truth is, you need to just use the same sources as you do for all werewolf folklore. Here are many good sources. These are absolutely the ones I recommend.

‘Cause the fact is, there are no good sources specifically on female werewolves. If you find one that claims to be, it’s almost certainly going to be a gimmick. Just being honest. There are so many people out there right now trying to get in on the werewolf fever that started really going after Twilight was first  published. I remember loving werewolves for so long and them being obscure, I was so “weird” for being so passionate about them, then suddenly they became mainstream. They even became a subgenre of romance fiction. It was all very weird and sudden to me.

At any rate, as a result, there are tons of trashy little books out there with non-information in them that are sold based purely on gimmicks, and you really need to watch out for those. The writers of said books basically just googled werewolves and compiled all the bad nonsense “information” and somehow got it published. Or else it’s literally just a parody piece where it pretends to be written by a monster hunter and talks about their weird werewolf headcanons with no real-world folklore involved at all. And then people made an actual Wikipedia article called “Werewoman.” What is even-- “were” means “man.” It has nothing to do with “being a shapeshifter.” You can’t just cut the prefix off werewolf and have a thing that means “shapeshifter,” that removes all connotation of actually turning into something else. If you say “weres” to refer to werewolves, or “werewomen” to refer to werewolf women, you are effectively removing any sense of shapeshifting or animal of any kind. “Were” means “man” so... man-women? Human-women. They are people women. So they are... ordinary women! That doesn’t work at all. Just like how if you say “weres,” you are just saying “people,” with no concept of shapeshifting involved whatsoever.

Anyway! Pet peeves galore.

If you were ever under the impression that there were no werewolf women in folklore, I hope this set you down the path of clearing that up! There are more out there, of course, but these are some of the prime examples in my opinion.

(If you like my werewolf blog, be sure to check out my other stuff and consider supporting me on Patreon!

Patreon — Wulfgard — Werewolf Fact Masterlist — Twitter --- Vampire Fact Masterlist )

[carpisuns]

New anon, but I saw the last one and I have some thoughts. Specifically, I have been obsessing over ml for the last month or so, and I’ve only seen three episodes, and they were the three released before crocoduel. And you know what? I wasn’t that into it, it wasn’t bad it just wasn’t half as engaging as fanon and fanworks have been for me.

I’ve also done this with the Magicians, Supernatural, and a couple others. I think the reason that this works, for some people, is because it is a more familiar and in many ways, easier way to discover and become attached to new material and new characters. Fan writers and artists are coming from a place of love for their source material (no matter what issues they may have with it) and that bleeds out into their work. Time is spent developing the characters and their feelings, their relationships, in ways that canon so often can’t or isn’t allowed to, and reading that, it’s very easy to fall in love with new characters very quickly. There’s also common AUs and dynamics that make it much easier to start something new.

And also: comfort characters. So many fans find common ground with characters and further project onto them, particularly in fanfic. And because of that it’s often easier to identify with a fan’s interpretation of a character than it is to identify with the canon’s, since you have these more deeply explored feelings and relationships based on a combination of canon and the personal experiences of the fan writer. Also, with these kinds of fics it’s extremely emotionally affirming since for someone who doesn’t have much of any connection with the source material, it feels like the original, even if you’re reading a large body of work by a lot of different people. And I’m so used to fanfic as a substitute for the emotional work and character development that shows/movies/books don’t have room for or aren’t willing to get into, that approaching a fandom as it’s own original piece of media in a way, feels very comforting.

That’s my perspective on it anyways, and why I do this. I do think it is a good thing to engage with the canon to an extent, even if it’s just watching a few clips (how I found ml) but I also don’t think you need any real connection or knowledge of it to be deeply invested in the fandom. Sorry, this got very long.

you know, i totally get being on, like, the fringe of fandoms and interacting with fanon to an extent without a proper investment in canon (I have a couple fandoms like that), but i honestly just can't imagine becoming super invested in a fandom when I am not invested in the source material...maybe that's just a difference between you and me, idk.

but also, i gotta admit that i'm struggling a bit to understand the reason. you yourself pointed out that fan work is enjoyable because the creator's love for canon bleeds into it. and isn't that the reason that you would want to give canon a real chance? obviously there is fan content made out of spite lol (and sadly a fair amount in this fandom), but to me most fan content is like a love letter to canon. like, "i adore this thing so much that it inspired me to create and share with other people who adore it." and what better recommendation is there than that?? i would think people would wanna familiarize themselves with canon in order to better enjoy fanon(?)

i completely understand your point about fan content delving further into characterization and relationships where canon hasn't/can't, and that is such a big appeal of fanfic/fanart. but i don't feel like that's a reason to not engage with canon? on the contrary, i feel like you are missing something important in your understanding and appreciation of that wonderful exploration if you haven't experienced firsthand the foundation that canon set. and maybe that missing thing is just your personal interpretation of a character/dynamic.

for example, i could say, "adrien agreste is this, this, and this and he would do this but not this." and of course i will think im right because my characterization is always perfect 😌sakjdfaldjks but someone else might have a slightly different interpretation, and someone else will have another interpretation, and when you mush all those individual takes on a character together, you will get a good sense of who they are, but you still don't have the Original™️ to draw your own interpretation from. idk, to me it sounds like basing your opinion of chocolate ice cream on what other people are saying about it without ever trying it yourself? ajsldakljf maybe that's an oversimplification but i do think that without experiencing it for yourself, your understanding will always be kind of incomplete.

idk, i big agree with everything you said about why fan content is special, but everything that is a point in fanon's favor is not a knock on canon. to me fan content feels pretty inseparable from canon, so it just doesn't compute to me to take canon out of the equation? then we would have nothing.

i feel like it's almost kinda trendy nowadays to be like, "oh this show actually sucks lmao but the fanon and AUs are good." like it's shameful to actually...enjoy source material? 😭 i mean i completely understand that miraculous ladybug is not gonna be everyone's cup of tea and that's fine! but if you truly enjoy the fan content that much i encourage you to give canon a real shot. it's not that surprising to me that you watched 3 recent episodes and didn't vibe that much, since you haven't seen the 3 seasons of buildup that lead to them. miraculous has a neat way of tying a bunch of things together so if you aren't familiar with all of it, you're probably missing out.

personally my love for miraculous was kind of a slowburn at first. i only started watching the show because my sister and i made a deal that forced me to watch the first few eps lol. and i didn't really vibe either. but there must have been enough of a spark there for me to keep watching bc for some reason i did and the more i watched the more i fell in love with it until it became the thing that occupies my brain more than anything else. i started with canon and then got into fanon, but it could easily go the other way too. and if you're already invested in the story and characters, i have to imagine it would be much easier to push past the initial cringe of "this is a show about a couple of teen furries rated TV-Y7 on netflix" lol and give anything you don't vibe with the benefit of the doubt.

again, to be clear, i'm not trying to judge or gatekeep here! i'm just saying this because i genuinely LOVE miraculous. it's my favorite show. that's why i make things for it. that's why i have this blog. i want people to watch it. so maybe, pwetty pwease, try watching the show you like so much? 🥺👉👈

(source bc i was too lazy to make my own so i stole this from twitter)

[traincat]

I’ve been trying to piece together a few things from your Twitter and Tumblr posts alike and still can’t make heads or tales of things, so would you mind helping out a FF & spideytorch noob? 1) what is currently happening with Johnny in the comics? (I’ve fallen head over heels for this guy, largely all your doing) 2) when’s the last time he and Peter have interacted, canon wise? (And do you think upcoming interactions are likely?) 3) your thoughts on if they’ll have him come out in the near future? (has that ‘biggest change to the fantastic four’ teaser come to pass yet?) Love all your content, thank you!

I'd say no problem but then I started thinking about this current run again and got a headache. But yes, I can do that to save you from reading it, because it is very largely not good.

So I don't think it's unfair to just flat out say the current Fantastic Four run is not very good, largely due to writer Dan Slott's efforts. Slott was previously on Amazing Spider-Man for 10 years, to mixed opinions, but a large portion of Spider-Man fandom, myself included, blames him near singlehandedly for the decline in quality of Spider-Man books over those ten years. I will say, in the interest of fairness, that Slott as a writer has an incredible fondness for the Spider-Man/Human Torch relationship, and that a lot of the recent teamups and interactions between them have been written or co-written by him. So it's all not all negative here. But in general, I personally find Slott's more recent comics (the last seven-ish years especially) to be badly plotted out, messily characterized disasters that feature characters written with all the emotion of a cardboard cutout. That's me putting it nicely.

To explain this fully, you have to understand the position Fantastic Four comics were in from the years 2015 through 2018, both in the fictional 616 universe and in the real publishing world. Following the 2015 Secret Wars event (great if you want some Johnny angst in the background of your plot), the Fantastic Four were disbanded -- Reed, Sue, and their many biological and found family children were presumed dead but in reality were remaking the multiverse, unable, for a reason that was never clearly defined, to reach home. Ben and Johnny were left on Earth. They had an unspecified falling out, likely due to Reed and Sue's absence, and went their separate ways -- Ben joined the Guardians of the Galaxy and went to space. Johnny was featured on both Inhumans and Avengers books. What's notable about this period is that it's the first time since 1961 that there was no Fantastic Four book being published by Marvel. Now the real world reason behind this is both complicated and extremely petty: Marvel really wanted the Fantastic Four film rights. Marvel denied this explanation at the time, stating that the reason was sales motivated, but it was a thoroughly flimsy excuse and Jonathan Hickman, writer of 2015's Secret Wars and overseer of the current X-Men plot, gave an interview saying the decision was film rights motivated. This decision kept the Fantastic Four books off the shelves for three years, up until the Disney-Fox merger, which secured the X-Men and Fantastic Four rights for Disney's Marvel Studios. Marvel then announced that the Fantastic Four book would be returning. So that's a little bit of background as to the precarious place the Fantastic Four currently occupy in the Marvel universe -- it's worth noting that this year is their 60th anniversary, and Marvel has done very little for it. Compare this to the X-Men, whose film rights Marvel also obtained during the Disney-Fox merger, and whose books are currently dominating the publishing lineup. The Fantastic Four definitely occupy an unpopular position, one Marvel themselves is at least partially responsible for forcing them into.

But to move back into the actual content of the book -- the readjustment period Slott wrote reintroducing the Fantastic Four into the Marvel universe can be described as clumsy, at best. It's never fully explained why Reed, Sue, and the kids couldn't return to Earth, something that was explored in Chip Zdarsky's 2017 Marvel Two-in-One, which featured Ben, Johnny, and Doom on a multiversal roadtrip to try and find their family and which I on the whole recommend, despite it having an awkward ending due to being cut short by Slott's announced Fantastic Four main title.

(Marvel Two-in-One 2017 #4)

Instead, the Fantastic Four return to a Marvel universe a little different than how they left it, with the Baxter Building -- formerly the offices of Parker Industries, the company Doc Ock started in Peter's body during Superior Spider-Man that Peter inherited after his defeat and then lost spectacularly when he trashed his own company to fight nazis (good for him) -- occupied by a different fantastic foursome in a plot that goes nowhere and does nothing. This is somewhat emblematic of the early days of Slott's run -- he introduces ideas that fail to go anywhere, including Johnny's rekindled relationship with his other best friend and former college roommate, Wyatt Wingfoot, who he was seen being very cuddly with in the early issues.

(FF 2018 #1) A small group of Fantastic Four fans have argued for a while that if Marvel was to have Johnny come out, a relationship with Wyatt would feel very natural -- they're already close, with Wyatt being an important Fantastic Four supporting character since the '60s. I have some further analysis here on the conspiracy theory that Johnny and Wyatt were supposed to be in relationship at the beginning of this run but that that plot was, for whatever reason, nixed. I don't know that I entirely believe this theory, for the record -- but I do think the pieces line up remarkably well.

Anyway, that didn't/hasn't yet happened, obviously. Slott instead for the most part put Johnny on the back burner for the beginning of his run, up until the Spyre arc, which I have reason to believe is the main story he pitched that he credits with securing him the Fantastic Four title. The Spyre arc suggests that the Fantastic Four's failed space exploration during which they got their powers wasn't just to beat the commies to the moon, as Lee and Kirby envisioned (simpler days), but to reach a specific planet outside of our galaxy. When the team sets out to conquer this mission, they arrive at the planet, but are quickly captured. The planet, they find out, operates like a soulmate AU -- everyone has a fated person that they are matched to via a gold armband. Reed and Sue are soulmates (and Ben is confined to an underground subterranean with the other monsters, because this is a Fantastic Four comic) while it's discovered! Shocker! That Johnny is actually the soulmate of the one the planet's inhabitants, a winged woman named Sky, with the suggestion that this is both why Johnny's previous relationships have never worked and why he loves space exploration -- he was just trying to get to his Soulmate TM.

(FF 2018 #15) "What's going on here? Where are my clothes?" As you can see, this didn't start off super great, with Johnny being separated from his family, stripped naked, and put in Sky's bed with a soulmate armband slapped on him. Did I mention they're only removable if your soulmate takes it off for you? And that Sky has consistently refused despite Johnny asking her to? Yeah. It's bad. (I think it's important to note Johnny's long history as a victim of assault plays into this narrative, whether or not Slott is personally holding that in mind while writing, which I don't believe he is. cw in the linked post for discussions of sexual assault.) There's an additional issue here in that Slott has a history of problematic writing regarding women of color, featuring characters he's created to act as love interests being oversexualized, infantilized, villainized, or some mix of all three, with two examples of this phenomena being Cindy Moon and Lian Tang, both of whom he introduced in quick succession in Amazing Spider-Man. Slott certainly didn't have to write Sky as manipulative or controlling towards Johnny, but that's what he chose to do, and that factors into the bigger picture of unfortunate themes in his writing.

Sky returns to Earth with the Fantastic Four despite Johnny appearing unenthused about the idea and initially generally reluctant to interact with her. Apparently they went on a few dates after this and kind of made up. I don't know because I stopped reading for about ten issues in there but I feel confident I missed very little. It's hard to talk about the Sky plot without referencing Johnny's previous interactions with a character named Lyja, a Skrull whose relationship to Johnny I have a long breakdown of here. It's doubly hard, because Lyja actually showed back up in Fantastic Four during this plot. Lyja's modus operandi has remained consistent throughout almost all of her appearances, which I guess makes sense, because she literally has no storylines that do not involve her being obsessed with Johnny, and this recent story isn't any different: Lyja shows up, Lyja disguises herself as another woman in Johnny's life to get close to Johnny, Lyja gets caught and claims it was all fine because she did it for love. This time she disguised herself as Sky.

(FF 2018 #32) Not gonna lie, kind of proud of him for this one. That's one of my problems with Slott -- very occasionally, he busts out good moments, only to undermine them with the rest of his narrative.

In the same issue, Alicia Masters, the first woman Lyja impersonated in order to get close to Johnny, uses her supervillain stepfather's radioactive clay to control Lyja's mind and send her back to space, and I do think she utilized girl power when she did this. Johnny, left reeling after Lyja's latest attempts to trick him into a relationship, ends this issue by sleeping with Victorious, Dr. Doom's right hand woman.

I know she pegged him. I know it. This scene was a little controversial in Johnny fandom, because a lot of people viewed it as Johnny cheating on Sky and thought that that action was out of character for Johnny. I'm personally of a little different opinion, which is that regardless of whether or not you view Johnny and Sky in a committed enough relationship that Johnny's tryst would count as infidelity when all Johnny and Sky are bound by are magic plot soulmate bracelets, I think Lyja's involvement changes things significantly when it comes to Johnny's characterization. All of Johnny's "playboy" periods, if we can call them that, coincide directly with Lyja having been in and then left his life again, which I think makes a certain amount of sense -- it's Johnny trying to wrest control back after a situation where he had none. None of this is explicitly canon, I have to note, but sometimes in comics you have to do the work yourself. So I think this is a case of something being accidentally extremely in character that Slott accidentally stumbled into because he had these love triangles in mind, not because he put a lot of thought into it.

Speaking of love triangles! Johnny sleeping with Victorious gets more complicated when Dr. Doom announces his intent to marry Victorious -- not because he has any romantic interest in her (this engagement caused a lot of uproar in Fantastic Four because Victorious had been previously referred to as being like Doom's adopted daughter) but in order to install her as Latverian regent in his absence. I'm not going to lie, I love a political wedding. Victorious, for some reason, thinks Doom will be deeply upset that she slept with some closeted blond twink and the member of the Fantastic Four he views least as an enemy and more as an annoyance. Johnny, who Sky is currently not talking to because she "felt" him sleeping with Victorious through their magic plot soulmate bracelets, also feels nervous about Doom finding out about this, which I guess is slightly more valid. Anyway, for some completely ridiculous reason, Victorious decides the best time to tell Doom about this little indiscretion is when they're standing at the altar, which coincidentally the Fantastic Four are also standing at, because Doom asked Reed to be his best man in a not at all homoerotic little setup involving midnight swordfighting and Reed slipping Doom's emerald ring onto his own finger. Sorry to sidetrack into DoomReed territory here but it's just like. It's just a lot.

(FF 2018 #33) Also, Ben walked the bride down the aisle. :,) Look at his gigantic hand.

Anyway then Doom decides he's going to kill everyone in a completely reasonable and not at all overblown reaction to Johnny and Zora having what was most likely both disappointing for Zora and weepy for Johnny sex. And that brings us up to where Fantastic Four comics left us yesterday -- in answer to your "big change" question, that's most likely coming up in the next issue, so it hasn't come to pass yet.

Having gotten all that out of the way -- the last time Johnny and Peter interacted canon-wise was in the recent Empyre Fallout Fantastic Four, at the end of the Empyre event:

It was cute! Slott does right good interactions between them. This is possibly the Stockholm Syndrome talking. I don't know if more interactions are likely imminent -- the Empyre event was fairly recent. On the other hand, Slott does like writing interactions between them. So I'd give it about a 50/50 shot. I was skimming the letter page in the latest issue and someone wrote in asking if Peter was likely to appear in the pages of Fantastic Four again any time soon, so there is definitely a demand.

As for Johnny coming out -- I don't know. It's not a call I feel comfortable making at this moment, which I guess means I wouldn't bet money on it. I'd like to say yes, especially because I think Slott set up, whether that was his intention or more likely not, several good places in his run where Johnny could have come out. The beginning, when he's implied to be living with Wyatt again and where he and Wyatt are paralleled against Ben and Alicia. Ben's bachelor party, where Johnny laments not finding the right person -- specifically person and not woman -- and where Ben tells him to "be brave, Johnny Storm." And the soulmate planet plot, where I think could have had a very different and much better ending if Johnny had told Sky that she couldn't be his romantic soulmate, because he knows he wants to be with a man. But those are just places that I think would have made good opportunities for a coming out story. Instead, Johnny's been involved (dubiously) with three different women over the space of the last 10 issues, which is more heterosexuality at one time than he's been confronted with in the last 60 years. So my thoughts are still that it's going to happen eventually, but quite possibly not anytime soon.

Hope that helps! And that my incredibly long answer about what's currently going on with Johnny in comics sheds some light on things!

[peppermintbee]

OMORI’s poor writing (Part 2)

Once again, if you are a big fan of OMORI, this review is not for you. Treasure this game, love it, recommend it, make fan art, buy the merch, do what you will with it. I am not here to take OMORI away from anyone. Based on the overwhelmingly positive reviews on Steam, I know that my opinion is in the minority.

However, just as the fans have the right to praise the game, I have the right to examine it, criticize it, and explain why it failed to provide a compelling experience. This is second part of my review where I will tackle OMORI’s problematic themes and disrespectful appropriation of mental health.

[ See Part 1: Plot Writing Lies ]

(Note: I use “OMORI” in all-caps for the game title, and “Omori” in title case for the character name.)

Spoilers and criticism below.

Part 2: OMORI’s message is mishandled and distasteful

OMORI provides a warning that it depicts scenes of depression, anxiety, and suicide. Because the game includes these scenes, I assumed these mental health issues are presented in a way that is meaningful and respectful.

However, that is not the case. 

Despite having depictions of such, this game is not really about depression, anxiety, or even suicide. It’s about committing a horrible crime, lying about it, and getting over the guilt.

1. Suicide as a game mechanic

Suicidal thoughts are intrusive, terrifying, and painful. As well as ending the victim's life, suicide wreaks havoc on the lives of those who once knew them. It is often a taboo topic, but discussing such matters is an important step to understanding and preventing it. Video games are a medium well suited to approaching such dark topics.

Unfortunately, OMORI does not handle the topic of suicide well at all.

First, suicide is written as a unavoidable game mechanic that seems to have been included for shallow reasons such as aesthetic and shock value. To leave Sunny’s headspace and wake up, you--as a player--must direct him to stab himself in the stomach. 

But why? It’s not like waking up involves some sort of major sacrifice. In fact, waking up is something that is more or less unavoidable. Reality should be something that snatches Sunny away from his headspace against his will, perhaps as an encroaching darkness that Sunny can run from, but never truly escape. But instead, facing reality is something you are forced to opt into in the most needlessly violent way possible.

Forcing you--as a player--to literally commit suicide just to wake up from a dream is a pointless, distasteful, and disrespectful action that sets a precedent for suicide not being taken seriously in this game. (And it isn’t.)

In the black space, Omori is pressured to kill a cat. In that scene, regardless of your choice, you are forced to kill yourself. However, the act of stabbing yourself has been seen so many times at that point that it has completely lost any impact. Who cares about suicide when it’s been reduced to just a means of travel?

Lastly, if you fail to defeat the final boss, Sunny commits suicide in the real world. However, this is not a cutscene, it is once again something that you--as a player--are forced to do to progress. Putting these actions in the hands of a player is not as meaningful as the writer seems to believe, because there are no other options to progress. Any weight in making that decision is lost to resignation; a frustrated sigh of “Well, okay, fine. I guess I have to click Z here.” You are then rewarded with a SLAPPING pop song and a psychedelic cutscene of Sunny falling to his death. It’s tasteless to its core and appropriates the deaths of every suicidal person as a quirky, shallow “bad end.”

(Seriously, this is how the writer decided to depict a child taking his own life.)

2. Sunny/Omori is a poor presentation of depression

Sunny/Omori does not smile. Even in past photographs before The Incident, he still is not smiling. The contrast between Sunny and his friends stands out like a sore thumb, so I assumed this was the writer’s attempt to show that Sunny is dealing with depression, where he can’t be happy even in happy situations.

Of course, if that were the case it would be inaccurate since depressed people do smile and do hide their true feelings. They are often dismissed with, “You can’t be depressed, I saw you smiling once.” However, I was willing to let Sunny’s chronic frown slide because sometimes you have to oversimplify an idea to get your point across.

Much to my surprise, there is NO evidence of Sunny having depression before The Incident and there is very little indication of him having depression throughout the game either. The evidence of this is that while looking at a family portrait, Sunny comments that he's never liked to smile. Since he's a a baby in this portrait, this goes to show that his not smiling is simply a preference -- a quirky character trait that makes him stand out so that you feel an emotion during the true ending when he finally smiles. 

Everything in the game seems to point to him being pretty happy and well adjusted up until he killed Mari. Then, even after he killed Mari, he pretty much looks and behaves the same way. Wouldn’t it be more jarring and tragic if you saw Sunny was happy in the past, but depressed now?

Which leads me to my next point...

3. Sunny and Basil are not depressed, they’re guilty (and for good reason)

In the book I Thought It Was Just Me (But It Isn’t), Brené Brown explains the difference between feeling guilt and shame.

Guilt means: “I did something bad.” Shame means: “I am something bad.”

Guilt, when attributed to bad behavior, is actually a healthy emotion. It means that you have a sense of right and wrong, that you empathize with those you’ve hurt, and it motivates you to make things right.

Shame is an unhealthy emotion. It arrests growth, destroys self-esteem, causes poor decision making, isolates you from your loved ones, and is directly correlated with anxiety and depression.

OMORI should be a game about overcoming shame. All the right set pieces are there. Sunny’s walled himself off, his sister (allegedly) committed suicide, and he seems to be struggling with lifelong depression. However, this all falls apart, when it’s revealed that he killed his sister and staged her death as a suicide to escape blame (with Basil’s help). He DID do something bad. It’s not shame, it’s literally guilt.

All at once, OMORI stops being a game about recovering from grief and depression and becomes a game that demands the player to sympathize with a killer and liar who is hiding from his crimes. Because he and Basil feel bad about what they did, Sunny and Basil are presented as greater victims than their actual victim.

4. OMORI asks you empathize with villains (with ZERO self awareness)

Games where you are playing a character with a guilty conscience has been told before, but where OMORI really fails is that Sunny is not truly held accountable for what he did to others. Instead, the game focuses on HIS pain: since killing his sister he’s been isolated, he’s having nightmares, and he’s suicidal. 

The plot of the game is focused on helping Sunny forgive himself for ruining other people’s lives. The writing barely acknowledges how his friends/family feel about what he did. When his victims’ pain IS addressed, it’s either used to further victimize Sunny (ie: isn’t it sad for him that he made his friends so sad?) or it’s used to reassure the player that Sunny’s victims have forgiven him (or will forgive him). 

In fact, the game holds Mari responsible for her own death, citing that her "perfectionism" must have been what pushed Sunny to attack her. OMORI presents Mari, through headspace, as someone who accepted death gracefully and wants Sunny to live a happy life. She is never given her own voice and nothing in the game suggests she is capable of feeling bitter over her death and postmortem desecration. She plays the role of the Madonna archetype--and the perfect victim--allowing the player to empathize entirely with Sunny while accepting that Mari brought everything on herself.

[Mari suggesting that Sunny acting out his aggression on her was her fault.]

The climax of this game is NOT Sunny telling the truth to his friends. The climax is Sunny defeating his guilt and forgiving himself. We know this because the story does not even show how his friends respond to his confession, because-- once again-- what’s most important thing is resolving Sunny’s pain, not the pain he has caused others. (Though the game does heavily imply that his friends will forgive him.)

[Pictured: the boys shedding their guilt is the true happy ending ]

Imagine, for a moment, if this game was about an abuser, who caused immense pain to someone and got away with it. Then, the whole game was about how they felt bad for the abuse they caused, and-- as a player-- you help them forgive THEMSELF for their past abuse. Then, in the last few seconds of the game, they either apologize to their victim or kill themself. The victim’s response is not shown because it is not important.

This is the plot of OMORI, except with a bunch of excuses thrown on top to make it more palatable. Sunny and Basil are just soooo cute and sad. Killing Mari was an accident. Stringing her body up like a piñata was a juvenile mistake. The boys feel SO BAD that they want to kill themselves. And because suicide is so tragic, you-- as an audience-- are manipulated into empathizing them.

5. In OMORI, suicide is used as a cheap ploy for sympathy

As I mentioned before, suicide is horrible and tragic. People struggling with suicidal ideation need help, support, and respect. That said, let’s make one thing clear: being suicidal does not automatically make someone a good person. There are plenty of examples of criminals who kill themselves to escape the penalty or guilt for something they did. It is so common in the news that I don’t think I have to list out examples.

In bad endings, Sunny and Basil’s suicides are 100% motivated by guilt for their very real crimes. Now, it should be stated, Sunny and Basil do not deserve to die. And because suicide is such an extreme, permanent end for those two boys, we-- as players-- are invested in preventing that tragic end at all costs.

However, the looming threat of suicide is used as leverage to force the audience to dismiss the severity of what Sunny and Basil did. As I’ve said before, the plot of the game is about soothing and alleviating Sunny’s guilt and stopping him from killing himself as opposed to making things right. 

The worst thing is, this tactic actually works. The threat of suicide is so strong, it has distracted many players from the truth that this story is about sympathizing with a boy who has killed his sister, with little regard for those his actions have affected (see point #4).

It’s terrible because suicide is such a serious topic worthy of discussion, but when used as little more than pity-bait, it twists your perception of what the characters did and silences those who try to criticize how this game handles such topics.

6. Mari's suicide being fake is a terrible twist

Lastly, by revealing Mari’s “suicide” as an accidental death, OMORI misses an opportunity to tell a much more powerful story. In the first half of this game, when Mari is thought to have committed suicide at the young age of 15, is a sobering moment. That tragedy is something very real.

If Mari had killed herself as opposed to being killed, Sunny isolating himself after his sister takes her own life is realistic. Mari’s death coming as a surprise is also realistic; how often have we heard people saying that they never knew someone was suffering? That they seemed like such a happy person?

Losing a loved one to suicide does not just cause horrible grief, but crippling shame as well. Those left behind will blame themselves, tormented by thoughts of how they could have saved them, how they would do anything to get them back. That shame can follow you forever, haunting you like a ghost, threatening you with the same fate. Overcoming that grief and shame is no simple task, and I truly thought OMORI was going to be about grappling with grief and letting go of survivor guilt.

Instead, Mari didn’t commit suicide, her life was cut short by her brother. Then, her body was staged as a suicide, forever changing how her family and friends perceived her. Her hanging body did not represent a devastating loss of life and horror of teen depression, but instead is a cheap twist that represents Sunny’s guilt for killing her and tampering with her corpse.

Conclusion:

As I’ve mentioned before OMORI has a lot of potential. The set pieces of a depressed kid who escapes to a dream world to cope with his unresolved trauma is one that had the makings to be very meaningful. However, it fumbles these issues, creating a sloppy plot that results in a problematic message. It’s baffling that this even happened, especially considering the length of time this was in development.