#les-bia honest we NEED them to happen

[endoplight]

The Wolf and her Moon. Reposting this from my Twitter and Instagram, @EndoPlight.

[existslikepristin]

Activated My Trap Card

This one is VERY old. Even from before What A Bummer.

Tags: TheLounge?, CLC, Seungyeon, Yeeun, Eunbin, male reader insert, scary ladies, the most uncomfortable threesome with an audience of one, vote story

~~~~~

You stand in front of the door to Cube Entertainment's offices. You got a strange call a few days ago telling you to come to this address in order to "make a lot of money." You were worried that it might be something illegal, or a scam, but after you looked the address up you got a little excited.

And it seems like you were right to be! After a minute or two, the door opens and you see Seungyeon standing there, looking straight into your eyes. She's wearing a super low cut black tank top, a pair of jean shorts that look like they've been cut extra high for optimal showing off, and the most basic pair of black flip flops ever. She doesn't look surprised to see you.

"Yeah, there you are," she says in her deep, beautiful voice, putting her hands on her hips, "I knew you would be perfect. Come on in. I've got a job for you."

She stands aside to let you through the doorway and closes the door behind you.

Unsure of where to go, you wait for her to make the next move. She does exactly that, walking past you and letting her hand graze past your thigh on the way. That had to be an accident right?

With her back turned to you, you look down and she that her tank top is mostly backless, and her shorts reveal about half of her butt cheeks. There is so much skin on display to you right now. You make an effort not to look, but it's damn hard.

You're about to take another look when Seungyeon spins around gives you a deadly look in the eye. "So tell me... who's your CLC bias?"

Holy shit, why is she putting you on the spot all of a sudden?! She looks like she wants an answer, and fast! This really was a trap! Fuck!

Options: 1. (Picked:) Seungyeon 2. Seunghee 3. Yujin 4. Sorn 5. Yeeun 6. Elkie 7. Eunbin

~~~~~

"Y-y..." you stutter, trying to think about how fast you can turn around and open the door to run.

"Yeeun?" Seungyeon takes a step toward you. She's very, very close.

You stumble back and bump up against the door. Seungyeon follows.

"Y-you," you manage to say.

A mischievous half grin grows on her face. "Yu...jin?" She punctuates the "jin" part by pressing herself up against you. You're still nervous, but you suddenly think you know what this is about (that isn't some shit like assassinating you). She's soft but firm, like you can definitely feel the dancer muscles under her tender skin. Except for her tits, pressed against your ribs. Those are totally soft, other than two tiny points of hardness.

"Nah... you."

You feel Seungyeon's body shiver from top to bottom, and she slides one of her legs up yours, trapping you against the door just a little more. Her hands are suddenly on your shoulders.

"That's what I was hoping. I saw you a while ago. You didn't see me, but I saw a picture of me on your phone," She squeezes your shoulders a little, like she's getting needy, "Do you touch yourself when you see me?"

You gulp. You're really not sure if telling the truth about that will help your case here.

Then it's your turn to shiver, as Seungyeon licks your neck, then buries her face in it. "Tell me which one of my holes you fantasize about being inside the most."

Well, what do you say?

Options: 1. (Picked:) "I've always wanted your pussy wrapped around me." 2. "Do you think your throat can take all of me?" 3. "Spread your ass and I'll show you." 4. "Hole? But what about your tits?"

~~~~~

"I've always wanted your pussy wrapped around me."

...

Holy shit, you've never seen clothes come off a person so fast. You barely catch a glimpse of Seungyeon's nipples before they're smashed against your chest again.

"Well I want to wrap my pussy around your cock," she says, already lowering your pants, "Help me make that happen, okay?"

You're not sure how you're supposed to help, since you're pinned between the door and her paralyzing, hot body. You feel your pants dropping to the floor, taking your underwear with them. Your dick springs up and slaps Seungyeon's pussy. Of course you're already hard.

Seungyeon isn't waiting for anything. She lifts herself onto her toes, and your dick gets just enough room to be able point fully up. Your tip rests somewhere in her folds. She reaches around her back and you feel her fingers adjust you very slightly, and suddenly you feel your entire dick being engulfed by her as she drops back down.

She groans. Loud. You're very aware all of a sudden that you're having sex in the front hallway of an entertainment company's office and look around. Seungyeon grabs your chin and forces you to look into her eyes though. You see stars dancing around them, but that's probably because you're feeling light headed from the pleasure being forced onto you right now.

The look she gives you is... intense. The whole time she's moving her body just right to keep your dick inside her, despite the fact that she's so soaking wet and slippery and at such an awkward angle. She manages it well though.

"Do you like this? Hm?" She asks. You open your mouth to answer but all you get out is a moan as she squeezes your dick with her pussy. Against your stomach, you feel her abs working to make that happen. What a fucking talent!

She smiles and pulls your head down to her open mouth. You open yours too and it gets assaulted by her tongue, dancing just as wildly as her body does.

When she finally breaks away from the thing you could call a kiss, she moves her chest off of yours to let you get a really good view of her jiggling tits, shining with sweat. If you're honest, you've already seen most of them thanks to the clothes she wears, but with nothing to cover them at all they're absolutely amazing.

"I need you to... cum, alright?"

Woah, that's sudden. Does she mean inside?

"The first cum... happens fast," she pants between every couple of words. No wonder, since she's still fucking you while just on the tips of her toes, "but that's what... we need... You need to last... longer for the next round."

You definitely already feel your orgasm coming, she doesn't need to tell you that. But wait. Next round? What is she talking about?

Simple poll this time:

Choices: 1. Take charge and cum the way you want to! She didn't specifically say she needed you to cum inside her, but that's a risk you're willing to take. 2. (Picked:) Are you joking? She knows what she's doing and has a plan for MORE? Don't take charge, she'll make you cum the way she wants to!

~~~~~

No way you're risking doing something she doesn't want you to right now. Not after she mentioned a "next round."

"It's happening now!" you say through your half gritted teeth. You really hope she knows what you meant, but you're having a little trouble forming full, meaningful sentences right now.

Seungyeon gets both of her arms around you and squeezes. Her eyes lock on yours again and you're captivated. You can't look away. "Do it... then."

Her hips grind against yours, and your orgasm hits you like a runaway train. You're dizzy, but you can still notice that she's squeezing down on you. As your cum fills her up, her eyes roll up, she bites her lip, and a grin spreads across her face.

You barely register that you slump to the floor, with Seungyeon's clamping pussy bringing her down with you.

"You dumb fucking hooker."

Suddenly, your senses all come back to you. That wasn't your voice. Or Seungyeon's. Oh shit. You can't see where it came from. But you recognize it. You start to imagine yourself getting beat up by body guards, or thrown in jail, or... fuck, maybe exiled from South Korea? Is that a thing that could happen?

So, whose voice was it?

Options: 1. Seunghee 2. Yujin 3. Sorn 4. Yeeun 5. Elkie 6. (Picked:) Eunbin

~~~~~

With a semi-exhausted sigh, Seungyeon leans to the side and looks over her shoulder. You feel a sense of impending doom as you see that the voice came from the daddy long le-- er, you mean, "maknae" of CLC, Eunbin.

Eunbin is only about fifteen feet away down the hall, wearing shorts (not as short as Seungyeon's, but still revealing her full legs), a blue sweatshirt, and tennis shoes. She looks... well she looks stone-faced as normal, but you bet she's super angry, based on the tone of her voice.

"Beannie, it's all good, okay?" Seungyeon sounds annoyed. She stands up, a wet plop nearly echoing as she comes off your dick. She faces away from you. If you weren't terrified, you would be admiring the bottom view of her bare ass and pussy dripping with your cum. Actually, you just came inside her. You're suddenly even more terrified, thinking about the entertainment company lawyers that are about to sue you into oblivion.

There's a dead silence for a solid ten seconds as the leader and the maknae stare each other down. You barely have the self consciousness to cover your dick with your hands.

"Don't you want to try him out?"

You stare up at Seungyeon's back. Could she make this situation worse? Don't mock the witness!

Eunbin's deadpan glare lowers down and locks with your eyes. ShiiiiIIIIT. Her look goes a little further down, right at your hands. And she licKS HER LIPS, WHAT?

"I'm busy, ass whore. Besides, the bitch is waiting with her cunt wide open," she swears evenly, like she's discussing the mild weather. You would question what she's saying if you weren't so confused, and still light headed.

Seungyeon groans, this time with annoyance rather than with pleasure like earlier. She turns around and bends over to grab your arms and starts pulling. You have to assume she wants you to stand, so you try, but it's awkward, trying to stand without revealing your mostly softened cock. Once you're up, she yanks on your hands, flashing Eunbin. Yet, she only looks for half a second, then turns and walks through a doorway. The same one Seungyeon starts dragging you toward, all the while with your cum slowly dripping out of her onto the floor.

What the fuck is happening here?

And who's the "bitch" Eunbin is talking about?!

Options: 1. Seunghee 2. Yujin 3. Sorn 4. (Picked:) Yeeun 5. Elkie

~~~~~

As you make your way through the door, dragged by Seungyeon, Eunbin is nowhere to be seen, but there is definitely another person. You're not sure you recognize her though.

She's tied down with some soft looking rope to a cushioned table. And the ropes are all she's wearing, with the exception of a blindfold. The ropes are holding her down and holding her legs wide open, but her arms are completely free. Doesn't seem like effective bonda--

The door slams shut behind you, making you just about jump out of your skin. Eunbin was hiding behind it! She has on exactly the same expression as before, too. She must be determined to creep you the hell out.

Before you can do or say anything about that, Seungyeon grabs your chin and turns you to look at the tied up girl on the table again. "See there? That's Yeeun. She's been a very good girl until today. She's only had sex a couple times before, but last month she told us that she wants to be a little slut, so that's why you're here."

You see Yeeun biting her lower lip. Seungyeon reaches down and starts stroking your dick back to life.

"You can fuck her any way you want to, as long as it's hard, and as long as you can do it for a really, really long time. And if you can do that..."

Seungyeon drops to her knees and takes your mostly hard dick in her mouth, diving all the way to the base and quickly sucking off whatever was left from the first round. She pops back off and licks it from the bottom to the top.

"If you do that for her, I'll definitely be calling you back."

You look back and forth from the leader of CLC below you and the rapper in front of you. Should you really? This seems crazy.

"What will it be? You can take her sweet pussy all the way to the moon and back, but she's not on the same prodigious birth control I am,"

You mentally breathe a sigh of relief at that, but also wonder what the hell qualifies a birth control as "prodigious."

"If you're afraid of putting a baby in her though, we already pre-lubed her pretty little ass. It hasn't been used before, but you should glide righ-"

DEAR LORD, Eunbin's ever-expressionless face appears right in front of yours, out of nowhere, "Or you can face fuck her. I've been dildoing this stupid thot's dumb mouth for days to get her ready for your fatass penis, if you have the balls," she says, nearly monotone. You're seriously confused by her rude behavior here and suspect she might be hiding a torture room somewhere in this building.

From the table, you hear Yeeun. You may not be at a good angle to see her, but it's definitely her. You'd recognize that sweet, meek voice anywhere, "I'm ready... please fuck me?"

Holy damn. This is really happening isn't it?

Options: 1. (Picked:) Take that risk! Pussy time! 2. Well, if her ass is already lubed... 3. Don't risk Eunbin crushing your skull. Throat fuck Yeeun. 4. Why is titfucking still not an option?! Lol, jk, we all love her boobs, but she's not big enough for that. 5. Run the fuck away! These bitches are actually insane!

~~~~~

You take a deep breath. This is just plain insanity that you are witnessing before your eyes.

Insanity is contagious, apparently.

You step around Seungyeon, and stand over Yeeun. She's at just the right height, and your dick rests on her pelvis, between her legs. You hear a short gasp of excitement from her... and two more behind you, which is definitely still weird.

You back up a few inches, bend your knees just a bit, and move forward again. Yeeun is a bit small, so it takes some pushing, but you can see the anticipation building on her face (what isn't covered by the blindfold). With a thrust, you're in.

Yeeun sighs and a smile crosses her face. Seems you made a good choice. She's going to like this.

"Woohoo! Now make her a slut!"

Again, you nearly forgot about your audience. Seungyeon moves to stand right next to you, one hand on Yeeun's inner thigh and the other one squeezing your ass cheek. Yay, fun...

For hours, you pound Yeeun into the table. Seungyeon stays with you the whole time, climbing on top of Yeeun, sliding herself all over you, and licking... pretty much everywhere.

A couple of times you have to change things up, untying Yeeun and flipping her onto her stomach, re-angling her so you can hold yourself up mostly by your arms, and eventually scooting her to where her head hangs off the table while you kneel over her.

You cum at least four times, but it's hard to be sure, since you think you went basically numb after the first three hours.

Yeeun seems to have lost her mind around that same time. Her blindfold fell off at some point while you were fucking her from behind and now you can see that her eyes have become unfocused. Every time you pull out to adjust after the second hour, she whined and tried to get you back in. But anything coming out of her mouth eventually turned into needy moans.

You kind of wonder to yourself how realistic it is to have lasted so long, for Yeeun to have actually gone half comatose, or for this process to have "turned her into a slut," but hey, it was bliss for you.

Seungyeon gets on her knees between you and cleans off your exhausted cock (and the area around it) with her tongue. It's a little sore actually, but you're not about to complain.

She stands back up and wraps her arms under yours, pulling you in. "I think you were successful, baby. Yeeun is going to want so much more from now on. Let's hope the baby you definitely put in her doesn't slow her down."

Oh. Right.

"So, what's next? Want any kind of... reward before you go?"

With her hips slowly rubbing side to side against yours, it's pretty obvious what she means, but hey, she asked, so...

Options: 1. (Picked:) You're drained, but you'll try for Seungyeon! Even if it results in embarrassment! 2. You want more, but you don't think you can get it up anymore. Be smooth and give her your contact info. 3. Uh, yeah. The call you got said you were going to get paid money for this. That's a reward. 4. Maybe just something to drink? You're fucking exhausted! (Warning, this option is mad kink territory.)

~~~~~

With your cock just about ready to fall off, you aren't sure how well this will work, but you're willing to try for Seungyeon. You grab her by the hips. A smirk crosses her face, and she doubles down on grinding against you.

You lift her chin up for a kiss. It's your turn to take charge with her now. She coos into your mouth. Her fingernails lightly scrape either side of your spine, sending tingles all up and down your body. Her entire behavior just changed! Sheesh, and all you had to do was take the initiative in grabbing her? This girl changes her mind as fast as she takes her clothes off.

The sweetness continues for the better part of ten minutes. You could swear the room's temperature is evening back out, from the sun-like heat earlier to being very pleasantly warm.

Seungyeon slowly breaks away from the kiss, looking into your eyes with less intensity and more... care. She leans her head back, and you take the hint, diving in and sucking carefully at her neck. Her silent shuddering is only interrupted by a moan coming from behind you.

You can guess what it is, but curiosity gets you to turn enough to look. And of course, it's Eunbin. She's still staring, which is still creepy. But she's also got both hands moving inside her shorts. She's probably been there all along, so you guess she can stay and keep watching. You doubt she'd leave even if you asked...

Trying not to think too much about your audience, you get back to work on Seungyeon, kissing her tanned skin from her chin, to her chest, to her toned as hell stomach, to her clit. Once there, her knees shake, so you decide to set her down somewhere she won't fall. It's time to pay her back for all the oral service she's been giving you!

Seungyeon backs up at your touch, until she leans back against the table in the middle of the room, and onto Yeeun's half conscious body. The skinny girl groans as she's suddenly used as a back rest, but Seungyeon doesn't seem to have any interest in fixing the problem.

This is your moment. You're going to make Seungyeon squirm on top of her rapper. You'll make her explode! You start leaning down, tongue halfway hanging out of your mouth...

"Damn, you're still not hard?"

She's holding you back by the forehead, looking between your bodies down at your lifeless dick.

"W-well, yeah, I mean, I just..." you gesture down at Yeeun. That's where your hardness went, and it's still dripping out of her at a moderate pace!

Eunbin's hands are on your shoulders, pulling you away from Seungyeon. It's a bit of a shock, to say the least.

"I'll call you later! Buh-bye!"

The next thirty seconds are a blur. You're dragged, stunned, out of the room, through to the opposite end of the hallway you came in from, and shoved out a door into an alley.

"See ya, fuckface," is the last thing you hear from Eunbin before the door slams behind you.

What the hell...

The door reopens, and you spin around just in time to get a face full of your pants.

"Don't forget your stupid clothes, you degenerate," Eunbin throws you one last insult before the door closes again.

It's a little chilly out here.

[GAME OVER]

[muses14]

Heaven Official’s Blessing (Review)

Type: Chinese Novel (BL) Genre: Xianxia Author: Mo Xiang Tong Xiu Rating: ★ ★ ★ ★ ★

Summary: For you, I’ll become invincible!

“Have you heard? The rubbish Heaven Official is having an affair with the ghost realm’s number one bigshot!” Eight hundred years ago, Xie Lian was the Crown Prince of the Xian Le kingdom; one who was beloved by his citizens and the darling of the world. Unsurprisingly, he ascended to the Heavens at a very young age. Now, eight hundred years later, Xie Lian ascends to the Heavens for the third time as the laughing stock of all three realms. On his first task as a god, he meets a mysterious demon who rules the ghosts and terrifies the Heavens……yet unbeknownst to Xie Lian, this demon king has been paying attention to him for a very, very long time.

Characters:

Xie Lian The main character. I’ll be honest, I really adore Xie Lian. The overly nice person types gets me every time; instant bias, sorry! Sure, he’s bland (personality-wise), but this never left a bad aftertaste for me.

A naive dream… He wants to save the common people. Time and time again he fails because you cannot please everyone, you cannot save everyone, you cannot stop all things bad. There is not always a “third path”. When he was at his worst, his behavior was inexcusable. For a brief period, I actually hated him, because he was driving everyone he cared about away and was unjustly angered at their leaving. I understood the other party’s reasons, and to me there was no right or wrong. It wasn’t that simple. In the end, they came back, did they not? That tells me something at least.

Now, he has good points too. I am not here only to bash on my beloved cinnamon roll just because I can. What also makes him so likable to me is that he acknowledges he has limits (despite being OP, ironically), he knows he’s not perfect, and is no stranger to pity or humility. Having lived for so long and still having the best intentions in life, damn, that’s some honorable stuff. I cried for him on several occasions during moments where he suffered, and the kicker here is I felt he deserved most of it… It didn’t make it seem any less painful though. :(

Hua Cheng The deuteragonist. His backstory is tragic and a common trope in stories. Abusive parent(s), gets bullied, wants to kill everyone as revenge, etc. He’s pretty arrogant to all (barring Xie Lian). This facet of him rubs me the wrong way though and I learned to tolerate it. Overall, I still like him as a character.

But onto the next part, we as the reader never get to see his inner thoughts. He’s portrayed as a bad guy, but at least he doesn’t go out of his way to bully or harm others. *cough* Qi Rong *cough* As a child I felt he probably had this tendency due to being bullied, but Xie Lian’s words saved him, gave him hope, and restored his faith anew. I only wished it was fleshed out by the author and given to us.

So in my own head: As a ghost he never made any friends, didn’t feel compelled to or needed to. In the ghost realm it is an every ghost for himself world, so what use would it have been for him to make friends? If anything, only subordinates. No one treats him with genuine kindness except for Xie Lian, while he was alive and in death. This is what he remembers and knows, and he clings to it.

OP character, too? Certainly!

Relationship: One word descriptors. Beautiful. Romantic. Pure.

“I have no answer to the question you asked. However, if you don’t know the meaning of your life, then make me that meaning, and use me as your reason to live.” - Xie Lian

The words above that Xie Lian said to Hua Cheng resonates for him… And on a level I don’t think I will ever fully understand. I initially did find Hua Cheng’s admiration creepy, but that changed once I learned more of his and Xie Lian’s past together. His deep devotion is beautiful. Does he put Xie Lian on a pedestal? Most likely...to some extent. I am not going to deny that if he has worshiped the guy for 800 years.

The slow build to their getting together feels natural and not rushed to me. For Hua Cheng, what started as idol worship eventually turned into romantic feelings. For Xie Lian, having someone else show him ultimate kindness and silently standing by him no matter what warmed him to the core, and in turn, made him fall. They didn’t need any bullshit obstacles for their love to happen. The one-on-one interactions they do have are very sweet and puts a grin on my face every time. They’re my favorite couple out of all of MXTX’s works!

Supporting Characters: They are all great! I especially like Shi Qingxuan (The Wind Master) and Yin Yu! Feng Xin and Mu Qing together with Xie Lian as a trio really make my day. One con is too many get tossed aside and left in the dust, only to then conveniently reappear when it suits the main characters or plot. Bummer.

Overall: I feel this could have been shortened by quite a few chapters, because it did drag here and there and I lost interest ever so slightly until the portion boring me passed. Large sections are dedicated purely to flashbacks. Instead, I would have liked it if the author spread them out. I don’t think any of the characters are overly poorly written, but too many get left behind. I am very biased towards the two main characters and am admitting to it, so take what you will out of my review. I tried to keep it reasonable.

[livmoose]

Va, Tosca!

I’ve been fascinated by ‘Tosca’ since three years ago, when I first heard it in Kiev opera. What motivated me to dig deeper was the stubborn anti-Puccini bias of music critics that started with the opera’s (nay, it's antecedent play’s) premiere and didn’t really cease by this day. Which I cannot understand at all: ‘Tosca’ is literally one of the most popular operas in the world, outperformed only by such eminent names as Verdi’s ‘La Traviata’, Mozart’s ‘Die Zauberflöte’, Puccini’s own ‘La Boheme’ and Bizet’s ‘Carmen’. So what gives?

‘Tosca’, original poster, 1899

The premise of this 3-act opera by Giacomo Puccini is rather simple: a villain wants a girl who loves a boy who loves her back and also helps revolutionaries. And also it’s a tragedy, like in a Shakespearean Everybody Dies kind of tragedy. You can pretty much guess the plot from there.

What I personally like about this opera is the combination of lightning-fast plot (the action takes place within several hours on June 17-18, 1800), finely developed character portraits, and music that explains and foreshadows everything you need to know.

Naturally, I don’t take the vague criticisms of ‘Tosca’ all that well.

Ha più forte sapore [bits of history and background]

Puccini’s opera is based on a 1887 5-act play ‘La Tosca’ by Victorien Sardou.

Puccini had seen La Tosca at least twice, in Milan and Turin. On 7 May 1889 he wrote to his publisher, Giulio Ricordi, begging him to get Sardou’s permission for the work to be made into an opera: ‘I see in this Tosca the opera I need, with no overblown proportions, no elaborate spectacle, nor will it call for the usual excessive amount of music.’

M.J. Philips-Matz ‘Puccini: A Biography’

I found this quote, and it instantly clicked: it’s exactly why I like ‘Tosca’.

In contrast to Sardou’s initial work, Puccini’s opera is much more succinct and direct. It has almost zero overblown dialogues and soliloquies that don’t promote the plot or develop characters (well, maybe there is this one lyric soprano-tenor duetto ‘Amaro sol per te m’era il morire’ [‘Only for you did death taste bitter for me’] in act III that’s a bit too long for my taste, but even this slow moment is essential because it gives the audience an opportunity to breathe as the final shockwave looms closer). But the rest of it is actually interesting to see and hear.

For me, ‘Tosca’ is one of the very few operas that are targeted at people who are not fifteen and overly dramatic adult audiences who don’t need same things repeated at them all the time and who can catch what is happening without seeing each and every small detail. Puccini squeezed Sardou’s acts II, III and IV into a single second act, and it works. We as an audience don’t need to see the whole scene at Cavaradossi’s house to understand what happened there. We can use our imagination to paint the rest of the picture.

Looks like the critics do not agree with me on this one.

Perché, perché, Signore [criticisms galore]

The infuriating part about the critical landscape of ‘Tosca’ is that the critics don’t seem to agree on a single point of reproof. Some complain that the opera is too wordy; others, conversely, are not satisfied with the plot rushness (the view that both librettists of ‘Tosca’, Illica and Giacosa shared). Critics called the opera ‘three hours of noise’ that lacks style and cohesion. Julian Budden [opera scholar] faulted the ‘inept handling of the political element’ while commending ‘a triumph of pure theatre’. Burton Fisher [opera writer] described the sensuous love duet ‘Qual’occhio’ as ‘an almost erotic lyricism’ and ‘pornophony’.

Is it just me, or do the critics dislike ‘Tosca’ precisely for the nuances I love about it: coherence of the plot, acute and restrained drama, absence of excessive political speculations (it was not meant to be goddamn ‘Les Miserables’) and, well, musical puns? More on that later.

Not to say ‘Tosca’ didn’t receive its share of praise. Charles Osborne [music critic] believed the plot of ‘Tosca’ was taut and effective while the characters had enough opportunities to shine both in terms of dramatic development and musical elaborateness. Some also praised the richness of Puccini’s score:

[Puccini] finds in his palette all colours, all shades; in his hands, the instrumental texture becomes completely supple, the gradations of sonority are innumerable, the blend unfailingly grateful to the ear.

Ippolito Valetta [music critic] ‘Rassegna Musicale’ in ‘Nuova Antologia’

The aspect of criticism that I did find explainable was based on ‘disconcerting vulgarities’ as put by Gabriel Fauré [composer]. To be honest, the opera really does not lack in violence: Tosca undergoes sexual assault, is broken by the need to defend her chastity with murder and by the death of a beloved, and finally commits suicide. For the public back in 1900 such developments truly could be regarded as a bit too much.

For modern audiences, however, the events are nothing to be shied away from. The opera aged exceedingly well, not losing a bit of its attractiveness in romantic and dramatic sense. Even more so, the criticism that ‘Tosca’ still receives today makes little sense. Joseph Kerman’s [musicologist] remark on ‘Tosca’ as a ‘shabby little shocker’ from the middle of the century, well after the actual real-life shock of two world wars and the brusque shift of public morale, was way off the mark. Thomas Beecham [conductor] bitingly responded that anything Kerman said about Puccini could ‘safely be ignored’ (it almost makes one thing something personal’s involved).

Besides, some modern scholars share my perception of ‘Tosca’s treatment:

Scholarly presses and journals still deeming [Puccini’s] operas too popular to be worthy of serious study continue to shoot themselves in their collective foot.

Deborah Burton ‘Tosca’s Rome: The Play and the Opera in Historical Perspective (review)’

By Burton, Puccini was often simply ‘snubbed by the musicological establishment’. The fun part? Puccini put on his Scarpia persona to cynically and kind of affectionately if you ask me describe ‘Tosca’ as ‘zibaldone’ [‘hodgepodge’]. He referred to it as ‘a vile opera’ and ‘quella putana di Roma’ [‘that Roman whore’]. If this isn’t love.

Già, mi dicon venal [quick glance at the initial play]

Similar criticism of abundance of violence was applied to Sardou’s play. Tosca’s behavior was deemed ‘unchaste’, and the brutality disturbed both critics and theatre fans. Jules Favre [statesman] even called it ‘cette pièce vulgaire, sans intrigue, sans caractères, sans moeurs’ [‘vulgar piece, without intrigue, without characters, without morals’].

The most offensive part of the play was, apparently, Cavaradossi’s torture. Even off-stage, his screams prodded the critics to warn women against seeing ‘La Tosca’ as the play could ‘inflict irreparable injury on persons yet unborn’.

Despite this, the play was an immediate success. It toured around the world, and even the harshest critics couldn’t ignore its dramatic effect:

As to the play itself, I will only add that it is offensive in its morals, corrupt in its teaching, and revolting in its brutality, and yet everyone who admires acting is bound to see it.

Cecil Howard [theatre critic] ‘La Tosca’, ‘The Theatre’

So. Let’s see what threw people in such a dismay, shall we.

Io de’ sospiri [plot and why it’s good]

Sylvester Feodosiyevich Shchedrin ‘New Rome. Castel Sant’Angelo’, oil on canvas, 1823

It all starts with Roman ex-consul Angelotti escaping the clutches of tyrannical justice. The fugitive runs into Mario Cavaradossi, painter and Bonapartist who agrees to help him. Two men are interrupted by Mario’s passionate lover and Roman opera celebrity, Floria Tosca. After a fit of jealousy she leaves the church, and Cavaradossi leads Angelotti away from the city to hide in his villa. Right afterwards, Baron Scarpia, chief of police and the embodiment of tyranny emerges on stage and, when Tosca returns, devises to use her jealousy to lead him to Mario and Angelotti.

Second act is all about torturing Cavaradossi (off-stage) and Tosca’s gradual breakdown. Scarpia demands the location of Angelotti, which she surrenders to save Mario from suffering. Then Scarpia tries to force Tosca to give herself to him, which she agrees in exchange for her lover’s life - only to stab unsuspecting Scarpia with a knife.

The rest of the main cast dies during the third act. Mario’s ‘staged’ execution appears to be not so fake as Scarpia promised. Tosca, inconsolable and heartbroken, jumps to her death as the soldiers, who discovered Scarpia’s body, corner her on the ramparts of Castel Sant’Angelo.

The plot pretty much follows Sardou’s play, although the action was tightened (mostly by avoiding obvious plot turns) and the list of characters sharply compressed.

Sardou’s act III features a scene that is not present in Puccini’s opera: Cavaradossi’s villa, the painter, Angelotti, and later Tosca and Scarpia. One of the things I liked about the opera is that it doesn’t have this scene. It’s excessive and basically tells nothing that audience couldn’t have picked up from the unobtrusive operatic dialogue in act II. Puccini - Sardou 1:0.

Obviously, Mario’s execution was not fake. In the play, Spoletta reveals this fact to Tosca. In the opera, he at first misunderstands Scarpia’s order (hilariously so, as he nearly confesses the whole thing to Tosca), which allows the audience to guess their scheme. 2:0 for subtlety.

In act II, Scarpia questions Mario with the backdrop of Tosca’s cantata performance off-stage, in the depths of Palazzo Farnese. 3:0, this whole piece is just gorgeous.

Puccini wanted ‘La Tosca’s plot stripped of everything excessive (which is, lamentably, a rare practice for operatic genre):

[Puccini] cut Tosca to the bone, leaving three strong characters trapped in an airless, violent, tightly wound melodrama that had little room for lyricism.

M.J. Philips-Matz ‘Puccini: A Biography’

Ignoring criticisms, Puccini also persevered in his clear vision of how the ending should be - by the way, nearly the single thing he and Sardou agreed upon. A good thing undoubtedly; I’d hate for this to happen:

Puccini’s librettists also disliked the suicide, and an alternate ending for the opera was (briefly) considered: rather than leap, Tosca would go mad, collapse, and die on the body of her lover (presumably of Sudden Operatic Death Syndrome).

Susan Vandiver Nicassio ‘Ten Things You Didn’t Know about Tosca’

Pure gold of a remark. Thank you, Susan.

‘Tosca’ is a very tight, succinct work, beautifully paced. I like how the acts are structured and developed. Act I, the longest one, was clearly meant to be expositional. Also, it’s the melodramatic one, with inclusion of comedic motifs that significantly lighten the mood (think the character of the Sacristan and continuous good-hearted mocking of Tosca by her lover).

Act II is unexpectedly macabre: there’s not a trace of the lightheartedness of act I. A real drama ensues, with torture, violence and grim ending (Tosca murders Scarpia in cold blood, which I, as a cynic, viciously enjoy every time). This act is also shorter while it still has enough room for Scarpia’s intricate manipulation and blooming deconstruction of Tosca. The characters are well-developed and nicely motivated (at least in part Sardou’s merit).

Act III is the shortest (just over 20 minutes), and it’s a full-on tragedy. The final plot twist was hardly intended as one. This act is an emotional roller-coaster. Combining hope and death, it is based on fragmented pieces, which makes the whole thing feel real, not operatic. The opera ends strong and loud, and it’s perfect that way. The audience is left with the sense of tragedy that is not undermined by unnecessary lyricism of long pre-death arias (like in Verdi’s ‘La Traviata’, I absolutely hate the last act). With the rush of events, the delay at this point would be unendurable.

‘Tosca’ is chaotic in its final scene, just as it should be. Tosca the character makes the (suicide) decision in a blink of an eye, and I absolutely love the impression that she makes it out of egotistical motives: she is to be captured by the soldiers - not because Mario is dead. This is the kind of nuance that defines the difference between real living people and operatic character embryos. When the opera ends, I always find myself speechless and anguished not irritated at how annoyingly long it takes for the characters to die (looking at you, Verdi).

E lucevan le stelle [characters breakdown]

Palazzo Farnese, 2018. Now French Embassy in Rome

First and strongest impression about the characters of ‘Tosca’: gosh, they are not dumb! So it is possible.

One of the major appeals of ‘Tosca’ is that the characters feel like real people instead of archetypal damsel in distress, knight in shining armor and flat cardboard villain. Although Scarpia bends a bit in that direction, being completely satisfied with his villainous villainy, he acknowledges it, giving off the air of a ‘connoisseur of evil’ instead. William Ashbrook [musicologist] recognized Puccini as a portraitist who honed lifelike characters. Even the smaller characters like the Sacristan (‘an avaricious hypocrite’), Angelotti (exhausted but proud-spirited escapee) and Spoletta (when Scarpia says ‘jump’ he asks how high a perfect minion) are miniature studies of human nature. ‘Tosca’, in his opinion, is a portrait gallery of real-life people.

Floria Tosca [soprano]

For some unfathomable reason, ‘Tosca’ is defined as a melodrama, which is totally different from how it feels with its darkness and the fact that everybody of significance dies in the end. Wiki says melodrama is ‘a dramatic work in which the plot, which is typically sensational and designed to appeal strongly to the emotions’ - basically, plot over characters. Instead, [scenic] tragedy (defined by Google) is ‘a play dealing with tragic events and having an unhappy ending, especially one concerning the downfall of the main character’.

The latter is literally the plot of ‘Tosca’, especially as the title character undergoes a whole set of the most traumatic experiences (concessions to conscience, attempted rape, murder in defense, witnessing torture and execution of a loved one) in a span of just several hours. This set of experiences naturally draws a basis for her downfall (literally): under stress and with no opportunity to think thoroughly, it is not surprising that Tosca commits suicide.

She is strong-willed and passionate, pure-hearted (which is probably why she doesn’t see through Scarpia’s schemes) but not stupid, loyal but also jealous. More out of habit, if we to believe Julian Budden [opera scholar]:

[Cavaradossi, act I, scene 5] Mia gelosa! [My jealous [Tosca]!]

[Tosca] Si, lo sento, ti tormento, senza posa. [Yes, I feel it, I torment you unceasingly.]

All in all, she is a harmonious character in dire circumstances, and it’s a true delight to observe how Tosca, despite how broken and devastated she is, finds the power to oppose her offender. This is the real plot twist (character twist?) of the opera - and I assume the reason that ‘Vissi d’arte’, Tosca’s major aria (an emotional plea of a character who is about to betray her very self) is so well-known and recognized.

Mario Cavaradossi [tenor]

In comparison with Tosca, Cavaradossi is a deceptive character. At first glance he might appear rather flat: nothing more than a loyal lover and a proud revolutionary. Upon closer inspection, however, the audience discovers liveliness and realism many male operatic characters severely lack: he jokes with Tosca instead of oh-so-common sickeningly sweet sighs of love. He knows her flaw of being prone to jealousy - but doesn’t take it too close to heart. He listens to her without interruption as she tells him about Scarpia’s advances (for sure, I was waiting for a hateful scene where he would scream ‘how could you’ at his lover and bang his head against a wall). And he actually knows how to appreciate that she willingly sacrificed her purity for his sake (and he sings an aria about it, too: ‘O dolci mani’ [‘Oh, sweet hands’]).

Besides the believable romance with Tosca, Cavaradossi has excellent dynamics with Scarpia. As the news of Napoleon’s victory arrive, Mario - once tortured - cannot resist the urge to relish in how stars turned for his nemesis:

[Cavaradossi, act II, scene 4] Vittoria! Vittoria! L’alba vindice appar che fa gli empi tremar! Libertà sorge, crollan tirannidi! [Victory! Victory! The avenging dawn now rises to make the wicked tremble! And liberty returns, the scourge of tyrants!]

Tosca tries to stop his prideful speech, aware of how this flows right into Scarpia’s intention to lock revolutionary Cavaradossi up. But Mario is lost in his surging emotions and forgets both himself and his lover at this moment - truly a detail each of us can relate to.

And also Cavaradossi seems to know that his death is not going to be faked - a twist that no one but pure-hearted Tosca is fooled by. He doesn’t believe in Scarpia’s generosity for a moment, and so he doesn’t even try to pretend he is surprised but ironically ridicules the mere idea of a magnanimous villain:

[Cavaradossi, act III, scene 3] Scarpia che cede? La prima sua grazia è questa… [Scarpia yields? This is his first act of clemency…]

Unbelieving but relieved by Tosca’s appearance and intoxicated by her hopeful rambling, Mario chooses to spend his last moments languishing in her presence: he doesn’t want to spoil this time for neither of them. Beniamino Gigli [opera singer, performed as Cavaradossi] wrote in his autobiography that ‘[Mario] is certain that these are their last moments together on earth, and that he is about to die’.

This interpretation of the character is common among the opera singers:

Unlike Floria, Cavaradossi knows that Scarpia never yields, though he pretends to believe in order to delay the pain for Tosca.

Tito Gobbi [opera singer and director]

However, instead of displaying understandable despair, Cavaradossi falls back to his original optimistic self and starts to subtly mock Tosca’s attempts to teach him how to die theatrically. She replies with ‘non ridere’ [‘you mustn’t laugh’], and he softly reassures her. They’re just so sweet together without the usual operatic mawkishness.

(I suspect Tosca is not entirely convinced of their unscathed escape from the clutches of now-dead Scarpia, as well. No wonder she feels uncomfortable at the prolonged preparations.)

Baron Scarpia [baritone]

The villain of this story was actually the first among the main cast to catch my attention. Scarpia is just so explicitly entertaining in his sardonic wickedness. Still, I can see how he could be interpreted as the least 3-dimensional of the three.

Scarpia is a clever interrogator and a talented manipulator. He knows where to hit and when to push to get the answers he needs. Pressing Tosca more and more, he breaks through her defenses until she is frustrated and annoyed to the point of losing her self-control:

[Scarpia, act II, scene 4] L’Attavanti non era dunque alla villa? [So, the Attavanti was not at the villa?]

[Tosca] No, egli era solo. [No, he was alone.]

[Scarpia] Solo? Ne siete ben sicura? [Alone? Are you quite sure?]

[Tosca] Nulla sfugge ai gelosi. Solo! Solo! [Nothing escapes a jealous eye. Alone. Alone!]

[Scarpia] Davver? [Indeed!]

[Tosca] Solo, sì! [Yes. Alone!]

[Scarpia] Quanto fuoco! Par che abbiate paura di tradirvi. [You protest too much! Perhaps you fear you may betray yourself.]

Tosca, with her passionate, fiery temperament, explodes - Scarpia knows about this peculiarity all too well and is able to use her outburst as a clue in his investigation. He continues the pressure all through act II: Mario is tortured, and Tosca is forced to listen to his agony. She eventually crumbles, unable to persevere in keeping Mario’s secret:

[Tosca, act II, scene 4] Nel pozzo… nel giardino… [In the well… in the garden…]

This confession is so succinct, just like the rest of the dialogue in this opera. Tosca doesn’t say ‘wait, I’ll tell you everything’, doesn’t try to play for time; she just betrays the whole thing in two short phrases, without specifying what she means. There’s no need: they’re on the same page.

And then Scarpia goes one step beyond and acknowledges his villainous ways, which isn’t necessarily a bad thing but makes him a bit more caricature. Delightfully so, but still. While Tosca nurtures released Cavaradossi to conscience, Baron cunningly waits for the opportune moment, and strikes, ordering Spoletta to bring in Angelotti. He gloats at Cavaradossi, smugness dripping off of him: see, she betrayed your trust! Mario, tortured, exhausted, half-conscious, falls for it, throwing Tosca’s hands away:

[Scarpia, act II, scene 4] Nel pozzo… del giardino. Va, Spoletta. [In the well… In the garden. Get him, Spoletta.]

[Cavaradossi] Ah! M’hai tradito! [Ah, you have betrayed me!]

Cavaradossi picks this up from the dialogue between Scarpia and Spoletta - again, no one clarifies anything. Like you do in real life. Subtlety y’all.

Now that the villain has Cavaradossi locked up and preparations for his execution in progress, he is one step away from getting what he wanted from the start. Tosca consents to sleep with him but still cannot conceal her hatred, unavoidable ‘you can have my body but not my heart’ trope, which doesn’t stop his lust in the least - on the contrary, inflames him more:

[Scarpia, act II, scene 5] Che importa? Spasimi d’ira, spasimi d’amore! [What does it matter? Spasms of wrath or spasms of passion…]

Naturally, when Scarpia is finally killed by Tosca, the audience is bound to feel satisfaction and not regret. Even Floria, the established virtuous character, has no shame as she recognizes Scarpia as the ultimate threat:

[Tosca, act II, scene 5] Ti soffoca il sangue? Muori dannato! Muori! Muori! Muori! È morto! Or gli perdono! E avanti a lui tremava tutta Roma! [Is your blood choking you? Die accursed! Die! Die! Die! He is dead! And now I pardon him! All Rome trembled before him!]

But Scarpia is a disillusioned aristocrat rather than a one-dimensional villain. What lets him gain more flesh is his motivations - get rid of the rebels (for power rather than ideological considerations) and get the girl (personal gain), - his backstory and notoriety among the revolutionaries, working relationships with other characters and the fact that he continues to live through his actions (arguably the main theme of the opera). Even when dead, Scarpia continues to serve as a villain of the story: Mario dies, and Tosca shouts her curses at him:

[Tosca, act III, scene 4] O Scarpia, avanti a Dio! [Oh, Scarpia, [we meet] before God!]

This gives weight to the character as Baron doesn’t disappear as soon as he dies. His life and death both have consequences. His actions have lasting power - a feature that fictional villains far too commonly neglect.

Even though Scarpia possesses some cartoonish features, he is far from being as simple as Wile E. Coyote. Meep meep.

Vissi d’arte [finally, let’s talk music]

Riccardo Manci ‘Mario Cavaradossi singing ‘E lucevan le stelle’, inspired by the tenor Giancarlo Monsalve’, 2014

William Ashbrook described Puccini’s music as ‘telegraphic’ and ‘highly charged’. The reason behind such an impression is the combination of several major leitmotifs that interact, evolve and explain the story. Fugitive motif, love of Tosca and Mario, Scarpia’s theme, torture motif, Tosca’s theme and Cavaradossi’s farewell to life are used as a patchwork that tells the story. These leitmotifs - what Edward Greenfield [music critic] calls ‘Grand Tune’ concept - are memorable and unique, as well as quite distinct from their musical surroundings:

Puccini does not develop or modify his motifs, nor weave them into the music symphonically, but uses them to refer to characters, objects and ideas, and as reminders within the narrative.

Burton Fisher ‘Tosca: Opera Study Guide and Libretto’

Torture motif is one succinct example of how a single simple melody is used to pump up the mood. It first appears as a foreshadowing with Scarpia’s forming intention as he learns Cavaradossi was taken into custody:

[Scarpia, act II, scene 2] Meno male! [Not bad, not bad!]

It grows more and more pronounced as Cavaradossi is questioned - threatening but not quite powerful yet. On the backdrop, Tosca’s cantata also gains volume and solemnity - pure delight mixed with anticipation of terror:

[Scarpia, act II, scene 3] Questo è luogo di lagrime! Badate! Or basta! Rispondete! [Beware! This is a place for tears! Enough now. Answer me!]

And the theme finally loses its careful insinuative tone and thunders at full volume when Scarpia orders Mario into the torture chamber, right before Tosca’s eyes:

[Scarpia, act II, scene 4] Mario Cavaradossi, qual testimone il Giudice vi aspetta. [Mario Cavaradossi, the judge awaits your testimony.]

The melody elaborates with Mario’s torture heard from off-stage, reaching its breaking point as Tosca breaks and reveals Angelotti’s hiding. It repeats again after Mario is released - slow and woeful, intertwined with Tosca’s and Mario’s love theme that is now devoid of its previous light hopefulness.

Statue of Michael the Archangel, Castel Sant'Angelo, 2018

I love how music acts as a separate character in the opera. It talks to the characters, responds to them, inquires and leads the conversation. In act I, while Cavaradossi sings about his love to Tosca, the Sacristan reprovingly grumbles about obscene youth on the background. Besides, here lies the great benefit of veristic [realistic] opera that allows the characters to have duologues - Mario and Floria sing their lines separately in a conversational form rather than a boring duet.

Music gives the opportunities of quieter moments, to talk in phrases but also in gestures. During act II, Tosca uses gestures a number of times to answer Scarpia: a nod of the head, a wave; subtle yet expressive. They nearly don’t talk while Scarpia writes her a letter of safe passage. This quiet scene also allows Tosca’s character to unfold, her decision to feel earned. She sees the knife, she hesitates a moment; then she grabs it and hides behind her back: the decision is made. No words necessary; the score allows the characters to be silent while it tells and develops their story.

And it also allows the characters to talk all at once, without listening to each other. By the middle of Act II, as they learn about the battle of Marengo, Mario starts to shout about victory, Tosca tries to shut him up, and Scarpia reels about hanging the revolutionary. They clamor; chaos ensues, and music supports the flurry of eddying noises by playing disparate motifs. The best part about this scene is that it delivers the message loud and clear, on both levels of plot and emotions.

Talking about Puccini’s score, it’s impossible to ignore the musical cohesion and integrity: each of the three main characters has their theme and their own designated aria that allows them to shine. Moreover, as each of their arias happen once per act, I enjoy the interpretation of their dominance: Scarpia in act I, Tosca in act II, Cavaradossi in act III.

Act I. Scarpia’s ‘Te Deum’: lust, menace, church bells

The theme of the villain is played out in contrasts that reflect his character: cunning and smart - but ruthless and just on this side of crazy. Scarpia is also a figure of power, both literally and figuratively, and he is foreshadowed in the score long before the actual appearance of the character on stage. As Baron is first mentioned in the conversation of Angelotti and Cavaradossi, his dark theme abruptly breaks through the much less strident music:

[Angelotti, act I, scene 6] Tutto ella ha osato onde sottrarmi a Scarpia scellerato! [She has dared all to save me from that scoundrel Scarpia!]

Immediately, this menacing ascending theme is associated with the villain. Later, as he enters the stage, no one calls him by his name, yet the audience immediately recognizes him as Scarpia as he is accompanied by that same simple motif.

The appearance of Baron sobers and darkens the mood instantly, his leitmotif invading other themes unscrupulously. Establishing yet another contrast, his conversation with Tosca is escorted by the tolling of bells that lasts till the end of act I. Scarpia raves about his poison spreading through Tosca’s thoughts, and his unnerving, acrid soliloquy transforms into the solemn Adagio religioso in ‘Te Deum’.

This superposition of profane lust of a ferocious man and sacred sublimity of the Catholic chant is what makes the audience shudder. The final ‘Te aeternum Patrem omnis terra veneratur’ [‘Everlasting Father, all the earth worships thee’] should be the solemn virtuous hymn to God but instead the act ends with Scarpia’s theme reiterated in thunderous chords - an ominous admonition of impending threat. Brilliant. Act I definitely belongs to Scarpia.

Act II. Tosca’s ‘Vissi d’arte’: plea of a broken soul

Second act is all about tempo. The action rushes forward non-stop. Scarpia gives Tosca less and less time to think, to estimate her situation, pushing her to her into the abyss (count how many falling jokes I make through this post). However, he misjudges Tosca’s limits and pushes her just a bit too far.

The point of no return for Tosca is her aria where she asks God why she has to endure all this suffering.

[Tosca, act II, scene 5] Vissi d’arte, vissi d’amore, non feci mai male ad anima viva! […] Nell’ora del dolore perché, perché, Signore, perché me ne rimuneri cosi? [I lived for art, I lived for love: never did I harm a living creature! [...] In this hour of pain, why, why, oh Lord, why dost Thou repay me thus?]

The score is lyrical, slow and wailing as Tosca mourns her faith. The aria ends with a low sob that is nearly spoken with raw emotion instead of sang. (Fun fact: while today the opera is probably most well-known for this aria, Puccini didn’t really like it and wanted to cut it out of the opera altogether; in all honesty, it does lack the musical potency of ‘Te Deum’ and ‘E lucevan le stelle’ even though it’s a palatable piece that delivers the idea of character deconstruction rather well.)

Tosca is left completely broken. Modern sopranos commonly fall to their knees while performing this aria, and there’s a good reason: when Tosca finally finds the power to stand up, she is a different woman. For me, this is when the main plot twist happens: usually, heroines in operas are meek and hesitant instead of decisive and offensive. Tosca breaks the pattern and shoves the knife through her offender’s ribcage. She owns act II.

Act III. Cavaradossi’s ‘E lucevan le stelle’: I die in despair

This aria is so renown even people who dislike opera have heard it at some point. It starts with a subtle, tender clarinet solo (possibly the most well-known operatic clarinet theme of all times). The melody is forced up but then sags, losing its power. It’s the pace of destiny, dragging and sorrowful, measuring what little time Cavaradossi has left. This is Andante lento composed in minor key and slow tempo - something that Mosco Carner [musicologist and conductor] calls ‘Puccinian lament, reserved for a character in an extreme situation - death or suicide’. Perfect to denote present anguished dolor.

Mario meditatively recites the first two lines, which feels like an improvisation. The audience witnesses an extremely intimate although fragmentary memory that ends in a grieving ‘muoio disperato’ [‘I die in despair’]:

Puccini insisted on the inclusion of these words, and later stated that admirers of the aria had treble cause to be grateful to him: for composing the music, for having the lyrics written, and ‘for declining expert advice to throw the result in the waste-paper basket’.

William Ashbrook ‘The Operas of Puccini’

Bravo, maestro!

I dislike the currently popular hysterical sobbing at the end of the aria that can be heard from modern tenors (e.g, in staging of ‘Tosca’ at La Scala). It sounds as a ‘hoquet tragique’ [‘tragic hiccup’] that jumps out too much and is slightly out of character - such rendering is more appropriate for Tosca’s character not Cavaradossi’s.

Still, this is arguably the most beautiful, heart-wrenching lyrical aria I’ve ever heard; I’m literally still not over it, after 3 whole years of listening to it, sometimes on repeat. Also, Placido Domingo is the best  Cavaradossi, shut up I’m not wrong (1976 film starring him and Raina Kabaivanska is wildly enjoyable).

As a bonus, act III (specifically its beginning and ending) deserve an honorable mention. Despite where the plot says the most dramatic moment of the plot is, for me, it’s the beginning of act III. Here’s the pinnacle of the opera: the contrast between the serene aria of a shepherd boy accompanied by the love motif - and the grim, heavy, shuddering theme of Cavaradossi’s farewell that the orchestra splashes on you as if it is a bucket of ice cold water. The music swells - you wait for the volume to stop growing, but instead it just tears through your eardrums.

The timpani are impossibly good for this piece. Intruding the peaceful, pastoral Roman morning full of hopeful dreams and the colors of sunrise, they suddenly throw the audience into the pit of pure unadulterated horror. Trembling and vibrating on low frequencies, they gift you with the feeling of earth opening under your feet, sucking you into the dark depths you’ll never get out of to see light - say farewell to life.

Similarly, the ending is extremely powerful. The drums start slowly at first, setting the rhythm. Before Cavaradossi’s execution, the orchestra is subtle and insinuating; it accrues and thickens in its vicious predictions. After the shots, as Tosca discovers Mario’s death, the tempo breaks through the roof. The music is desperately, deafeningly loud, it screams of tragedy. And, well, I am aware of the plot of the opera by now, but I’m caught off guard every time. I blame this on music. It just so perfectly reflects the mood of the events; it’s pure gorgeousness that gets to my very core every time.

There’s another point of criticism I need to mention in regard to the final theme that ends the opera: against logic, it is Cavaradossi’s farewell instead of more fitting love theme or, even more appropriately, Scarpia’s motif. This I cannot disagree with as, plot-wise, using this theme would provide the dramatic closure for the opera. However, given my love for theme of farewell, I cannot find the heart to dislike Puccini’s choice after all. Act III is largely focused on Cavaradossi, and the finale acknowledges this.

...Undoubtedly, Puccini was a genius. It’s not easy to comprehend the mastery with which he weaved a handful of simple motifs into a powerful story I cannot stop listening to. But also, there’s this:

Puccini’s sense of humor was often of the schoolboy variety, and he found risqué musical puns irresistible. In Act II of the opera, after Spoletta has assured Scarpia that ‘everything is ready’ for the execution of Cavaradossi, the Chief of Police turns to Tosca and softly asks, ‘Ebbene?’—’Well?’ She says nothing, and the score tells us that she indicates her submission by nodding her head. But at her silent reply the orchestra, anticipating the two-note theme of the ‘execution’ motif, plays the two-note phrase, A and C, or in Italian solfeggio, La and Do. The syllables, in addition to being musical symbols, also happen to be words in Italian: the words ‘La do’ mean ‘I'm giving it,’ and it is the usual way for women to say, I'm ready to give ‘it’ (to you).

Susan Vandiver Nicassio ‘Ten Things You Didn’t Know about Tosca’

It is quite possible there’s more of such minutiae. I’m not sure how to feel about a piece that simultaneously cracks me up and throws me into a pit of despair. But I definitely like it - that much I know.

Castel Sant’Angelo, 2018

Recondita armonia [some fun trivia]

The tone of the dialogue was elevated quite a bit. Get this: comforting Cavaradossi after he was tortured, Tosca says ‘Ma il giusto Iddio lo punirá’ [‘But a just God will punish [Scarpia]’]. The initial line was ‘Ma il sozzo sbirro lo pagherà’ [‘But the filthy cop will pay for it’]. Far less distinguished, my dear.

Puccini visited Rome specifically to mimic the early morning bells. Kudos for authenticity. Also, initially, the composer spent an ungodly amount of money to cast the bells he needed for the performance of ‘Tosca’. The orchestras till today have difficulties satisfying the composer’s vision.

Sarah Bernhardt, an actress who became the prototype for Tosca in Sardou’s play, while performing in Rio de Janeiro in 1905, injured her leg in the final scene when jumping from the rampart. As a result of poor treatment, she lost her leg ten years later. Gory.

Two of the most famous opera singers chose this opera as their farewell: Maria Callas as Tosca gave her last performance in 1965, and Luciano Pavarotti as Mario Cavaradossi in 2004.

In one of the performances with Placido Domingo as Mario Cavaradossi, his son was featured as a shepherd boy.

Before Puccini got to write ‘Tosca’, Giuseppe Verdi expressed his interest. He didn’t like the ending though and wanted it changed - I think we’ve barely avoided another ‘La Traviata’ there, oof.

Oscar Wilde saw ‘La Tosca’ and believed the torture scene was great as it showed how far people can go (no wonder; he was working on ‘Salome’ that evoked indignant discontent of the critics in a similar fashion). George Bernard Shaw also saw the play and, while disliking it utterly, still predicted it would be great as an opera.

In Sardou’s play, Cavaradossi gained a reputation of a Bonapartist in large part because of his mustache. That’s the conclusion I’ve made after seeing these two quotes: ‘Even his mustache was suspect’ and ‘Tosca’s confessor told her it marked him as a revolutionary’. This is gold.

[kpop-stole-my-sanity]

Weakness // Nakamoto Yuta

Request: “hello my bb girl/boy/whatever you prefer!! could i pls request an angst for any nct member of your choice where they see you again for the first time after not keeping in contact? idk, i understand if you can’t get it done!! love u honey”

Genre: angst

Word Count: 3236

A/N: I am so so so so so sorry this took so long!!! I’ve really been in a writing funk lately, and no matter how hard I tried, the words took super long to find their way onto the page. :(( I think I’m getting out of the funk tho so hopefully I’ll be uploading more soon~~ Also, I’m not really used to writing angst, so so try if this is bad or weird or cringey or something but I TRIED I PROMISE!!  I’ll definitely improve with practice tho, so plz don’t be afraid to request!! :DDDD

P.S. I didn’t proofread so I apologize for any stupid spelling or grammar mistakes !!! + I LOVE YOU TOO :D

(a/n: let’s pretend you live in Japan bc yuta senpai)

“Yuta? Where are you? Yuta!!!”

Your heart nearly burst out of your chest as you felt a hand grip your shoulder from behind. You spun around to see your best friend, whose eyes were twinkling with mischief as his lips curled up to form a wide grin.

“I hate it when you sneak up on me like that.” “I know.” “Where did you even go? I was scared you left me.” “Why? Because you would miss me?~~” “Hah! Not even close! It’s because it’s dark and I’m not trying to get mugged tonight.” “Wow, rude. Maybe I should just run ahead and let you get mugged.”

And with that, he took off, laughing as you struggled to keep up with him. You screamed his name in mock anger, but knew that he would never leave you behind. He eventually feigned exhaustion and slowed down, and the two of you continued home in comfortable silence.

❧❧❧❧❧❧❧❧❧❧❧❧❧❧❧

You woke up groggily to the sound of your alarm blaring across the room. Disheveled, and a little disoriented, you managed to make your way to the outlet where your phone was charging and turned the loud alert off. An audible sigh left your lips as you thought back to the dream you just had.

It’s the asshole’s birthday tomorrow.

You laughed at the irony of it all. This particular memory reminded you of how much faith you once had in him. Never in a million years did you think he would leave you. But he did. One day he was here, the next day he was gone, without a trace. No call, no note, not even a crappy text message to say goodbye. He just left. At first, you were terrified. What if something bad happened to him? Thousands of possibilities ran through your mind––each worse than previous one. But all of that was erased when you talked to Yuta’s neighbor, Ms. Kyoshi, who said that she had seen cardboard boxes being packed into moving trucks just days before. Well, there you had it.  

You wanted to hate him for it, but you could never bring yourself to. Of course you were angry and frustrated, but he had been your best friend for years. Him disappearing so suddenly made you worried more than anything else, and as much as you hated to admit it, you missed him. You couldn’t believe that even after the four years he’d been gone, Nakamoto Yuta was still your weakness.

You were pulled out of your self-loathing when your phone chirped, signaling that you received a message.

Miri: Hey Y/N! Just reminding you that I’m coming to pick you up at 9:30. Be ready!

You checked the time: 7:28. That gave you just enough time to shower, eat breakfast, and double check that you packed everything you needed. Hopefully this trip would distract you from your constant thoughts of Yuta.

“South Korea, here I come!”

❧❧❧❧❧❧❧❧❧❧❧❧❧❧❧

The plane ride from Japan to Korea had been fairly short, and with none of the random delays that you and Miri had prepared for. That left the two of you with the rest of the day in Seoul, and no plans. After arriving at your hotel, you decided to just spend your time walking around the city, perhaps going to Hongdae to experience some of the street life that it was famous for. You found that when on vacation, it was really nice to just “go with the flow” sometimes and not have to keep up with an insanely packed itinerary.

Walking along the streets of Seoul seemed peaceful, despite the bustling of the crowds around you. In fact, the unfamiliar surroundings and large groups of people were what calmed you, keeping your mind off of you-know-who. Every time you or Miri saw a cute store or café you wanted to look at, you didn’t hesitate, using your free time to just browse around. Soon, the two of you found yourselves in a large square with tall buildings and malls. All around, huge ads were flashing on screens, displaying the flawless faces of Korean idols promoting their respective products. You rolled your eyes as you heard Miri squeal.

“Oh my gosh! That’s NCT 127!”

You just hummed in response, not even bothering to look towards the direction she was pointing. You were too distracted by the ice cream stand to your right.

“You know, one of them is from Japan! He’s honestly hella rude.”

“That’s cool.”

Miri scoffed at your dry reply, but continued nevertheless: “His name is Yuta, but he’s not my bias. My bias is Taeyong! He’s the leader and one of the rappers of the group and he’s actually so attractive I cannot-”

But at that point, you had completely tuned her out. As soon as the familiar name escaped her lips, your head snapped towards the ad so quick that you could’ve sworn you almost got whiplash (eheh see what I did there? ;3)

It couldn’t be... could it?

Your eyes frantically scanned the faces of all the members before landing on none other than Nakamoto Yuta.

You felt everything crash around you as huge rushes of emotion rolled through your body. Relief, confusion, frustration, and most of all, anger. Your blood began to boil as you continued to stare at the annoyingly perfect smile you missed for so long. You felt ridiculous for getting mad at the digital image shown on the screen, but he was fine. He seemed to be pretty well off, actually, so what kept him from letting you know where he was and what he was up to?

“Hey, are you okay? Why are you staring at the ad so aggressively?”

You shook your head and just whispered, “Later.” Luckily, she didn’t push, instead nodding in understanding. You let out a dry chuckle. Of all the places you could have visited, you had to visit South Korea. Now, instead of keeping your mind off of Yuta, the trip made you think about him more than ever. You wanted nothing more than to seek him out and scream at him, punch him, kick him, and demand for an explanation. One way or another, you were determined to find Yuta and give him a piece of your mind.

❧❧❧❧❧❧❧❧❧❧❧❧❧❧❧

“WHAT! OH MY GOD! YOU KNEW NAKAMOTO YUTA!”

You sighed and threw a pillow at Miri. “Yes, emphasis on knew. That jerk was my best friend and he just left without saying goodbye.”

“Aw, I’m sorry. I just can’t believe that someone I know, knew someone who I’m watching through computer screens. I didn’t mean to be insensitive.”

You smiled at your friend, signaling that you forgave her. But it was gone as soon as it came as your thoughts returned to Yuta.

“Hey, Miri?” “Yeah, what’s up?” “Do you happen to know where NCT 127 works?” “…yes…why?” “Because Yuta and I need to have a talk.”

To your duress, Miri started squealing, “OH MY GOSH I’M GONNA SEE TAEYONG IN REAL LIFE I’M GOING TO DIE. AHHHH––wait. Y/N, how can you be sure he’s going to talk to you?”

Falling backwards onto the bed, you let out a loud groan. “I don’t know Miri. But if our friendship meant anything to him, he has to speak with me… right?”

❧❧❧❧❧❧❧❧❧❧❧❧❧❧❧

[The Next Day]

It was early…way too early. But in order to make sure that you were in Yuta’s line of sight, you had to get there before the hundreds of crazy fangirls did. You had it all planned out: how you were going to yell out his name, what you were going to say, the hand gestures you were going to use to express your rage––all of it. But as the time passed by, you grew less and less confident.  

“Are we seriously doing this right now?”

Miri’s question mirrored your own thoughts exactly. You bit your lip, unsure about whether or not you should really go through with it. You wanted to follow your plan and boldly call him out, but truthfully, you were nervous. If you were completely honest with yourself, you were actually excited to see him again. It had been years, and you were genuinely curious about how he was doing. Apprehension raced through your veins as your eyes wandered over the sea of fans waiting beside you. The loud bustling that calmed and distracted you earlier was now only igniting your anxiety. Did you really want to have your confrontation so publicly? Maybe this wasn’t such a good idea…

“I don’t know, Miri, maybe we should just le–”

You were cut off by loud squeals emerging from every direction. Instinctively, your eyes lifted as you saw a row of tall, lean bodies exit the van that just pulled up. You couldn’t see their faces yet, but decided that you wanted to run away before that could happen. Tugging on Miri’s shirt, you tried to tell her that it was time to go. Unfortunately, she too was encapsulated by the presence of the idols and failed to notice. You were out of time. You tried to push yourself further into the rowdy crowd, but with so many fans trying to get closer to the front, there was no use. Your early awakening didn’t seem like such a good idea now.

Desperate, you made a last-ditch attempt to hide behind Miri as the idols moved closer, but it was too late. With the turn of your head, you made direct eye contact with Yuta. You felt your body go rigid, staring at the so-familiar yet so-different person in front of you. Yes, it was your childhood best friend, Nakamoto Yuta, but he was slimmer, his facial features were more defined, and his hair was now a light brown. For a second, you let your guard down, expression softening into one of awe. But when you saw the look of recognition on his face––the wide eyes and parted lips––your anger returned once again (ANOTHAA ONE EHEH ;D). His mouth moved to form the syllables of your name.

“Y/N?”

Waves of heat cascaded over you, burning up your face and fueling your anger. If you didn’t know better, you would have claimed that steam was blowing out from your ears. The words you had prepared so intently were long forgotten.

Fuming, you let the first thought that came to mind escape your lips, tone so cold that it sent shivers down Yuta’s spine: 

“Happy birthday, asshole.”

With that, you turned and stormed away. You could hear Miri shouting your name, but you ignored her, feeling the need to be alone for a while. The anger that had consumed you just moments before slipped away into nothingness. Tears that you didn’t know you were holding back started to fall as you recalled the look on his face. He clearly remembered you, and yet he never made an effort to contact you. Did you really mean that little to him?  He was following his dream––you would have understood that. Did he have so little faith in you?

Questions and doubts flooded your brain as you slowly trudged back to the hotel.

❧❧❧❧❧❧❧❧❧❧❧❧❧❧❧

When you finally made it, a worried Miri greeted you at the front door.

“Oh my god, Y/N! I was literally freaking out. One second you were next to me giving death stares to Yuta, the next you were two blocks away and turning all these random corners. I thought you got lost or something!”

You let out a weak chuckle and held up your phone, “Google Maps, remember?”

“Okay, yes, technology is wonderful but still~~you can’t do that to me!” She paused briefly before continuing: “Are you okay?”

“I don’t know. I thought I just wanted to confront him, but seeing him today made me realize that he’s probably better off without me. If I mattered at all to him, he would have put in the effort to contact me. I just want to enjoy this vacation and go home like nothing happened.”

Rather than the words of encouragement you expected, Miri stayed silent. Curious, you looked up at her, only to be met with the nervous lip chewing that she did whenever she felt guilty about something.

(a/n: please excuse the caps, I honestly just didn’t know how to express the volume and franticness of this dialogue any other way lel)

“Miri… what did you do?” “DON’T BE MAD PLEASE! I SWEAR I DIDN’T KNOW YOU FELT THIS WAY BEFORE I INVITED HIM OVER TO––” “YOU WHAT??!!?!” “I’M REALLY SORRY, I THOUGHT YOU STILL WANTED TO YELL AT HIM SO I JUST IMPULSIVELY TOLD HIM WHERE WE WERE STAYING. HE DIDN’T GIVE ME A DIRECT ANSWER THOUGH SO HE STILL MIGHT NOT––“

*KNOCK KNOCK*

“––come…”

Your head dipped down as your fingers went straight to your temples, attempting to rub soothing circles to calm your mind.

This can’t be happening. Please tell me this isn’t happening.

A second series of knocks drew you out of thoughts. A sigh slipped past your lips, “Miri, can you please try to get rid of him? Tell him that I went back to Japan or something; I don’t think i can do this.”

She nodded and immediately turned to answer the door. You could hear the soft dialogue between them, and visibly cringed when Miri actually told Yuta that you flew back to Japan. Unfortunately, to your expectation, Yuta simply pushed passed Miri and began looking for you himself.

“I know you’re in here Y/N. Please, I need to talk to you.”

You couldn’t hold yourself back from snapping, “We have nothing to talk about.”

To your duress, as Yuta entered the room, your breath hitched and your heart skipped a beat.

Damn these stupid emotions.

Miri was two steps behind him, an apologetic look plastered across her face. You gave her your, ‘it’s okay’ look, which she answered by mouthing, “I’m gonna leave now.”

Now it was just you two. You could see the guilt in his posture, eyes never moving away from his fidgety hands as he stood silently. Your gaze shamelessly wandered his face as you began to wonder if this was just a twisted dream. It was hard to believe that Nakamoto Yuta was right in front of you. It seemed like ages before he spoke again.

“I know you’re angry, and you have every right to be. I left, I disappeared without a word, I was selfish. But I’m just gonna have to be selfish one more time. As soon as I saw you among the crowds, I knew I had to give you an explanation. You might not want to hear it, but I have to get this off of my chest. I’m sorry. I promise after this, if you decide you never want to talk to me or see me again, I’ll leave you alone.”

His eyes finally lifted up to your face, and he knew he had you. You left out a sigh and nodded.

“When I auditioned for SM, I didn’t tell anyone. I didn’t want the people around me to expect too much because I truly did not think I was going to get in. But it happened. One day, they just called me, and next I knew I had to pack all my belongings and move to South Korea. They sent an agent to my house the day after I got the call, and he spent all day for the next three days explaining to me all the terms and conditions. When he wasn’t with me, I was packing or visiting family last minute. It was a mess. It was basically 3 AM when I finally had time for myself, and you were always sleeping by then. So of course, I thought, ‘Hey, why don’t I imitate one of those cheesy movies and write an intimate letter?’ But I, being me, woke up late the day of my flight and forgot to stick the damn thing in your mailbox. God, did I mention it was a whole mess?”

You had to bite the inside of your cheek to contain the smile that threatened to break out. You couldn’t help it! Listening to him speak, watching him express himself, you saw the same boy you spent every day with just four years ago.

“Of course you would wait until the last possible minute to give me the letter and forget it.”

Yuta beamed. Hearing one of your sassy, quirky replies again was enough to make his week.

“Exactly! In hindsight, you should have known that I was just being stupid and not disappearing from the face of the Earth.”

You didn’t stop your smile this time.

“Anyways, when I made it to the dorms, they confiscated my cell phone! I asked for it back, but they said it was part of their trainee policy. Obviously I didn’t pay enough attention to the contract when the agent was going over it. But I already signed it so there was nothing I could do about it. I mean, they did let us write letters, but it was only once a month and you already know that my mom would have killed me if I didn’t write to her. The longer and longer it took me to mail a letter to you, the more I thought you’d hate me. I kept making excuses to myself about why I didn’t contact you, but the truth is I was scared you would never want to talk to me again. By the time I finally grew the balls to mail a letter, it was too late. My manager saw the name on the letter and said no.”

“Geez, what does your manager have against me?” you half joked.

“He wasn’t trying to target you specifically. I was already an SMRookie and we were going to debut soon. If anyone found out I was writing to an unknown person... well let’s just say they were afraid of unwanted rumors. Plus, my contract also has this policy about no dating until–”

“Well, what’s that got to do with me?”

“I–”

You couldn’t help but swell with pride when Yuta’s face turned tomato red, a smirk playing on your lips.

“I-I mean, uhm, w-we’re around the same age, ya know? And like... and they could assume? Or, uh.. or something... yeah.”

The mischief that gleamed in your eyes was replaced by a much more lighthearted amusement.

You’re too damn cute for your own good.

“Well, that’s not the point! The point is, I missed you. A lot. And I’d really like to hang out with you again. Please? Maybe grab a coffee or something?”

“And what about the dating rumors? Aren’t you afraid what the company will say?”

“I think it’d be fine if I just explained our friendship. We’ve been idols for a while now. And technically, they can’t stop me anymore because that the time period in which that part of the contract already was valid has already passed.”

You gnawed at your bottom lip, wondering if you should accept his offer. You really did miss him, and seeing him here in front of you, dorky as ever, made you miss him even more. Should you stay strong and let him go? Or abandon your pride have him in your life again? All it took was one look at his puppy dog eyes to convince you to give into your weakness. 

“Ok. Let’s go.”

[awed-frog]

Hey, I was just wondering do you have any thoughts on Barthes, death of the author? And I guess in extension the return of the author? Also slightly related, have you ever read any of Chris Krause's work? I read I love dick and I'm rather conflicted, I don't like the character but then I identify with her? Anyhow all the best x

Okay, so - as a disclaimer, I never had tons of classes in any of this stuff, so I’m hoping what follows makes some sense? If it doesn’t, it’s 100% my fault.

Anyway: the tl;dr is, I hate it with a vengeance and I never use it. On the contrary, it is very central to my life, and as close a certainty as I have on anything, that whatever we consume we should always ask ourselves: who is saying this? And why? And most of all, cui bono?

Oh, and a second disclaimer is that what I’ll allow *waves a generous hand* is that, like many other extreme, rebellious or wacky theories of the 1960s, it was probably Good and About Bloody Time that someone pushed back against the status quo, because some things back then needed to be broken down - but that doesn’t make those movements rational or right in themselves, you know what I mean? What matters is not the wrecking ball, but the new thing you’re planning to build on the ruins.  

So - imo there are two big problems with the concept of ‘death of the author’ - one is the theory itself, and the other is how this theory is understood on tumblr and fandoms (from what I see on my dash, that is).

First of all, Barthes basically says that to understand a text, we shouldn’t go and explore its author (their life and other works, the historical context, what they’ve read and talked about with friends and stuff like that) because the author is born with the text, and the text already contains all that it’s necessary to its full understanding; also, the reader will supply the rest, because, in a way, the reader creates the text - and gives it meaning - just as much as the author.

To be perfectly honest, to me that’s downright bullshit. Knowing who the author was and what was happening around them is paramount to understanding what the hell the text is trying to say, you know? For instance, knowing Orwell took part in the Spanish Civil War makes Homage to Catalonia much more poignant, and the fact Burgess went through the exact same ordeal he describes in A Clockwork Orange (his wife was attacked and brutalized by a group of American soldiers in 1944) will change the way you read the book, as it bloody should, and the same is true of literally everything else, in my opinion. For instance, last week we went to see The Greatest Showman, a biopic of P. T. Barnum that’s horribly inaccurate and almost a parody of itself; but knowing full well what the polical climate is like today means I actually sort of liked the movie despite its many faults, because I recognized it as what it wanted to be: a ‘hymn to freakishness’, an exploration of what it means to be different, and that’s exactly what we’re in dire need of.

Now - what is true is that we’ll never be able to pin down exactly ‘what the author intended’, because authors may not know themselves and that’s just the world we live in and the kind of creatures we are. I met writers who’re extremely smart, attentive people completely dedicated to their craft, and all of them said there’s always this moment when some reader goes, I liked how that detail with the dead bird was a direct reference to Clara’s illness or something and it’s a light-bulb moment for them, and I mean - they wrote the damn thing, but still didn’t notice that detail was there and why it was important. It probably just sounded right, because that’s what happens when you’re good at something and do it daily: sometimes things just click and work and you don’t even stop to consider the whys and wherefores. But the fact that we don’t have a complete insight into our own minds doesn’t mean we should give up completely on interpreting art and literature, right? What would be the point of that? Because I always perceived Barthes’ theory as a kind of giving up, myself, a kind of Fuck, Le Grand Robert lists 100K words and I’ll never be able to learn all of them, I might as well stop my French classes, you know? And, like, no? You can speak and understand a language with 500 words - and whatever, your glimpse into that world won’t be perfect (and there’s no such thing as perfect, btw), but still better than nothing, right? So, anyway, I don’t much like this theory in itself. 

As to its application to fandom life, well, here is where things get even worse. From what I see on tumblr, people generally think that ‘death of the author’ means their interpretation of what they see is always valid, and also that there is no right or wrong way to understand a story. And this bothers me a lot, because I see it as a direct consequence of a) capitalism doing its best to tailor its products to everyone by leaving out as many details as possible so that, Sure, Luke Skywalker can totally be gay, why not, and here is your Funko pop toy and your stickers and thanks for shopping with us and b) the age-old myth that science, now, that’s a hard and unforgiving discipline where there’s truths and untruths, but in the liberal arts, everyone’s opinion just counts the same (because you don’t need a degree to watch a movie and also the author is dead, so there). But, well - as the people who actually produce the content we enjoy know perfectly well, the author is not dead. There is a message in stories, and there is a right and a wrong way of reading them - if not on all the details, then on the main point of them; and, frankly, it’s weird how on the one hand we celebrate the triumph of this ‘everyone’s opinion is valid’ society we’re building (thus not simply killing the author, but bludgeoning the dead body with a blunt axe) and then on the other we loudly demand a world where artists are ‘unproblematic’ in their private lives (one example: the recent furore over Balthus’ painting in the Met). It looks like truly, this may be the era of the Schrödinger’s Author.

(And let me be clear: of course you’re allowed to like or dislike whatever you want based on your personal experiences and bias, but that’s your opinion, not any kind of truth. Like, a thing I found quite interesting in my personal life was a discussion I had with a woman from New Zealand about Thor: Ragnarok, a movie I mostly hated. One of the reasons for my disappointment in it was how Valkyrie had been represented: to me, her laddish drunkenness represented yet another attempt to insert women in a story while making them behave like men, a trend I profoundly despise. But, as that woman was kind enough to explain to me, from her perspective (and probably Waititi’s, since he’s from New Zealand and has explored the same subject in other movies) Valkyrie’s loss of focus and alcohol problems were there to evoke the plight of the Māori people, who, like other aboriginal communities, were forced into alcoholism and excised from their traditions when the ‘civilizing’ might of the the White Man showed up on their shores. This to say that I still don’t like the movie, but since Waititi was talking to a different audience, and they got the message, I’m wrong and he’s right, because I’m free to have an opinion on anything, but at the end of the day, he’s the goddamn author, alive and kicking.)

As for Chris Kraus, I don’t know her at all. I heard good things about the TV adapation of I love Dick? And as for what you say - fiction often reveals deeper truths about ourselves. I’d say that if you feel close to a character you don’t like, well, that’s a good starting point to understand (and change, or maybe learn to love) what it is that you don’t like about yourself? Anyway - sorry for the novel - I wish you a good afternoon/evening/whatever it is where you are!