#malorie wyatt

[malorydaily]

Many critics have claimed that Malory ‘tends to reject the magic and enchantments which were once so popular with the French writers and their audience’1 and that ‘the realm of magic is one in which Malory shows little interest.’ Vinaver also states that, in Le Morte Darthur, ‘incidents which appealed to the French authors because of their fairy element are reproduced with an emphasis on their human and realistic aspects with a noticeable neglect of magic.’ Whilst this is, for the most part, true, there are actually a few occasions where Malory appears to add supernatural elements to his narrative that do not exist in his sources. All of these additions occur in scenes in which the enchantresses, Morgan and Nynyve, are involved.

In a romance where the great Sir Lancelot can only be defeated ‘by treson other inchauntement’ (151/6:1), magic means power. Hence, by adding to the magical abilities of both Nynyve and Morgan, Malory empowers these female characters. Barbara Goodman has suggested that high-profile cases of witchcraft in the later Middle Ages led to a tendency amongst contemporary authors of romance to suppress the effects of magic wrought by enchantress characters, that ‘women in the later romances are gagged, or removed completely from the narratives, or polished to appear as “good Christians” or “women of the otherworld”, because the coupling of witchcraft with politics had become too dangerous.’ This does not appear to be the case with Malory’s Morgan, who makes more threatening attempts than her source character to use her powers for political gain and crimes against the king. Hence, Malory’s insistence on including an example of a menacing enchantress may be seen to go against the grain not only of the thirteenth-century Suite du Merlin, but even of fifteenth-century depictions of witchcraft.

Thus, far, I have argued that Malory ascribes a generally positive role to his female characters—primarily to advance the careers of their chosen knights—whilst allowing the women independence and individual traits. Morgan is one of a few exceptions to the rule: she does nothing positive to aid knightly development, beyond providing challenges for Arthur’s men. However, since he does not seek to limit the control she enjoys in the narratives, Malory’s decision to increase Morgan’s magical powers and make her even more dangerous than her source characters may in fact validate my claim that Malory’s text is anti-misogynist.

– Siobhan M. Wyatt, Women of Words in Le Morte D'Arthur: The Autonomy of Speech in Malory's Female Characters

[gellavonhamster]

If one can set aside, for just a moment, the major objection that Christine de Pizan would have had to Isode’s and Guinevere’s adultery, it is worth observing how they both in fact possess many of the traits she believed made a good queen. Christine advises queens to gain support of powerful people, and both Isode and Guinevere appear to be politically adept, as they secure the support of allies: the barons defend Isode when she drinks from Morgan’s horn, and Guinevere reclaims support after the poisoned apple incident, re-establishing her allies in the roll call that signals her Maying expedition. Christine also promotes charity, and warns princesses not to overindulge in their wealth, one of the main ‘temptacions’ that can plague the rich; while the day-to-day accounting and practical affairs of a queen are rarely, if ever, recorded in romance, Isode demonstrates that she is no slave to wealth when she offers to live with Tristram in poverty, and Guinevere is willing to spend a small fortune on the recovery of Lancelot following his madness. Christine suggests that a sensible queen will ‘tendra discrete maniere meismement vers ceulx que elle saura bien qui ne l’aimeront pas, et qui aront envie sur elle’ [maintain a discreet bearing even towards those who do not like her very much, and who will be jealous of her]. While Christine warns against those who envy queens for their power rather than beauty, her advice might still work as a relevant backdrop for Malory’s two queens, who show no signs of jealousy at all despite being constantly compared to each other by their admirers. The solidarity of women in Le Morte Darthur is also extended between women of different social status: Isode has a good relationship with Brangwain, as well as Guinevere, again adhering to Christine’s advice for ladies, for she stresses the importance of having the favour ‘de tous les estaz de ses subgiez’ [of all the estates/classes of subjects], and, in particular, of ladies in waiting and female companions. While the French Iseut plots against her maid and contemplates killing her at one point, Malory omits this entire episode completely, strengthening my claim that his women may be positioned as much-needed models of civility and empathy for the envy-ridden knights.

— Women of Words in Le Morte Darthur: The Autonomy of Speech in Malory’s Female Characters by Siobhán M. Wyatt

[plumbobbles]

[the-busy-ghost]

Maybe somebody on here can explain to me- why is it that the poetry of people like Sir Thomas Wyatt and other Tudor poets seems to be popularly consumed in modern English so much?

I mean I realise that Wyatt’s English is probably easier to turn into mostly modern English than say, his contemporaries in Scotland, or his predecessors in the late fourteenth century but it still seems a bit strange to me that it’s commonly updated, especially if it’s already quite easy to understand for modern English speakers?

It’s not a bad thing necessarily (especially if it means more people have access to it) I just find it a bit of an oddity

[selena-snape]

Familia Snape

Primera Generación:

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Segunda generación:

¤ Ilona Octavia Snape y Viktor Kirtking Snape

¤ Bellona Demetria Snape y Aurelius Amadeus Willowdee

¤ Tanith Marcellina Snape y Albion Casimir Snape

Tercera Generación:

¤ Gabriel Soren Snape y Conan Levi Malfoy

¤ Sonja Cassandra Snape y Lucian Rowland Snape

¤ Selene Belladona Snape y Michael Thomas Corvin

¤ Morgana Drucilda Willowdee y Octavius Mortifer Dollins

¤ Belvina Anastasia Willowdee y Alexander Andreas Kane

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Cuarta Generación:

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¤ Modesty Orianna Dumbledore y Michelle Caroline Miller

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¤ Octavius Theodore Dumbledore y Minerva Ursula Parker

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¤ Callidora Eridanis Black y Harfang Ernest Longbottom

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¤ Trish Clarice Riddle y "Lady" Mary Ann Arkham

¤ Vanessa Octavia Riddle y Tom Spencer Peters

¤ Delphinie Savannah Riddle y Serena Angelette Denford

¤ Dominika Hazel Levin y Thomas Downey Richardson

¤ Vincent Alexander Levin y Daphne Rosie Campbell

¤ Niven Finnian Levin y River Aura Stone

¤ Malorie Estella Levin y Ivan Adonis Novak

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¤ Ryou Nathan Snape y Krolia Serenity Kogane

¤ Jason Ezra Voorhees y Michael Gideon Myers

¤ Diana Madeline Voorhees y Mason Samuel Kimble

¤ Lucius Abraxas Malfoy y Narcissa Meissa Black

¤ William Joseph Dixon y Cassandra Allegra Lewis

¤ Vergil Amon Sparda y Faith Mackenzie Myron

¤ Dante Alastor Sparda y Hope Catherine Myron

¤ Victor Jethro Grace y Ryan Christopher Everett

¤ Aurelia Peregrine Grace y Sebastian Artemis Jensen

¤ Ian Mason Jackson y Bellona Damara Huxley

¤ Ada Demetria Jackson y Azura Jasmine Brooks

¤ Kitty Xanthe Jackson y Charlotte Marcellina Donovan

¤ Sansa Calypso Corvinus y Thomas Nicholas Parkinson

¤ September Lev Corvinus y Tanith Amara Walker

¤ Flora Pandora Snape y Xenophilius Leland Lovewood

¤ Thora Margot Fowler y Marc Anthony Marcelly

¤ Lyra Beatrix Fowler y Lorenzo Finnian Donnelly

¤ Morgan Ariella Fowler y Nolan Cassander Delaney

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¤ Luna Stephanie Dollins y Theon August Dresden

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¤ Stanford Nathaniel Dollins y Nita Evelyn Paxton

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¤ Niven Ezra Kane y Mikhaila Juniper Orion

¤ Carlisle Damien Kane y Serena Laurel Ranger

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¤ Felix Robert Prince y Jane Ophelia Miller

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¤ Edward Henry Prince y Selene Stella Harper

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¤ Richard Lawrence Snape y Galilea Lyra Dexter

¤ Francine Eliza Snape y Michael Francis Oakley

¤ Connie Violet Snape y Tallulah Vera Lake

¤ Melissa Barbara Snape y Eugene Jordan Morrinson

¤ Morticia Moira Snape y Kiyoko Asahina

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¤ Alec Aurelian Novak y Claire Piper Johan

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6)¤

7)¤

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12)¤

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16)¤

17)¤

18)¤

19)¤

¤ Keith Akira Snape y James Oliver Griffin

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¤ Lucy Ella Volkov Jacob Jhon Wright

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¤ Timothy Riven Riddle y Loretta Elise Hopkins

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¤ Lee Thomas Novak

¤ Morterius Aries Lestrange

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¤ Severus Vincent Lestrange

¤ "Mad Thrill"

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¤ "Mercenary Shadow"

¤ "Assassin Silver"

¤ "Defiant Spear"

¤ Valtor Christopher Volturi y Ogron Demetrius Kymer

¤ Dimitry Raphael Vanderwood y Jihyun Kim

¤ Aizawa Otsutsuki y Enji Todoroki

¤ Rhaegar Targaryen y Elia Martell

¤ Leslie Aaron Volturi y Ruben Kenneth Victoriano

¤ Evan Nova Casperan y Leigh Taylor Ainsworth

¤ Firkle Jonah McNamara y Ike Harley Broflovski

¤ Brick JoJo y Momoko Atsutsumo

¤ Boomer JoJo y Miyako Gōtokuji

¤ Butch Jojo y Kaoru Matsubara

¤ Levi Alexander Ackerman y Erwin Joseph Smith

¤ Avalon Jason Snape y Josie Terra Marion

¤ Saeyoung Choi y Jumin Han

¤ Saeran Choi y Yoosung Kim

¤ Castiel Vincent Sparda y Nathaniel Jacott

¤ Shaena Targaryen y Benjen Stark

¤ Richard Jhon Grayson

¤ Pitch Kendall Casperan y Jackson Ice Frost

¤ Armin Ariel Casperan y Lysandro Ainsworth

�� Alexy Matthew Kogane y Kentin O'Connor

¤ Daeron Targaryen y Urrigon Greyjoy

¤ Jason Peter Todd y Roy Xander Harper

¤ Osomatsu Matsuno y Reiji Sakamaki

¤ Karamatsu Matsuno

¤ Choromatsu Matsuno

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¤ Todomatsu Matsuno

¤ Gaella Targaryen

¤ Gaelle Targaryen y Nymeria Sand

¤ Aegon Targaryen y Lynesse Hightower

¤ Timothy Jackson Drake y Lucien Draven Bloodmarch

¤ Alesandro Darius Volturi y Marcus Donovan Volturi

¤ Jaehaerys Targaryen y Obara Sand

¤ Viserys Targaryen y Aurane Velaryon

¤ Damian Wayne y Jonathan Kent

¤ Rhaedall Targaryen y Domeric Bolton

¤ Rhaemyra Targaryen y Mya Stone

¤ Riven Thrall y Helia Thrall

¤ Duncan Thrall y Gwen Violet Rusell

¤ Simon Abaader

¤ Scarlett Abaader

¤ Nora Naida Abaader y Alfor Raphael McClain

¤ Geralt Nicolo Casperan y Jaskier Dandelion

¤ Mei Ling Young

¤ Chloe Bourgeois y Kagami Tsuguri

¤ Adrien Matthew Malfoy y Luka Keith Couffaine

¤ Scorpius Hyperion Malfoy y Albus Severus Potter

¤ Devlin Nikolai Snape

¤ Ruby Peregrine Snape

¤ Vladimir Lev Snape

¤ Levi Damien Khemse

¤ Leonora Arabella Khemse

¤ Micah Oliver Khemse

¤ Lavi Dawn Weasley

¤ Ezra Calyx Weasley

¤ Desmond Perseus Weasley

¤ Narcissa Daphne Weasley

¤ George II Norman Weasley

¤ Mikhaila Larissa Weasley

¤ Mihael "Mello" Keehl

¤ Nate "Near" Rivers

¤ Mail "Matt" Jeevas

Octava Generación

[this-is-called-cowboy]

Wyatt Gaskins & Malory Hart.

[studyinrevolution]

Got my readings!!!

Hey folks, popping out of hiatus to share my university reading materials. I'm so pumped and part of the reason I thought I'd share is partially to give you all a sense of what I'm staring down the barrel of but also because my sister gave me some awesome advice I'd love to pass along because it was wildly successful to me. So basically the reading list will be confirmed in a few days but I emailed all my profs asking for the central materials to get a head start. Obviously I'm not going to even scratch the surface of this in a month even though I have Odyssey and Chaucer on hand (which I took a look at and cried). However how this benefitted me is that I can now devise a readings schedule and most importantly, my profs have a first point of contact with me. Most of them were eager to respond and so helpful and generally impressed that I was enthusiastic to get going on their course. I really recommend doing this because that's a really simple way to get a great first impression and a general sense of your profs (like do they email with emojis). Greek and Roman Studies Homer. Odyssey, trans. S. Lombardo. The Landmark Herodotus: The Histories. Robert Strassler The Landmark Thucydides: A Comprehensive Guide to the Peloponnesian War. Robert Strassler Greek Tragedies, D. Grene and R. Lattimore Aristophanes. Lysistrata and Other Plays, trans. A. H. Sommerstein. Plato. Five Dialogues, trans Plato (Author) J. Cooper (ed.), G.M.A. Grube (trans.) Philosophy Introduction to Philosophy: Classical and Contemporary Readings. 7th edition. Eds. John Perry, Michael Bratman, Political Science Eric Mintz, David Close, Osvaldo Croci, Politics, Power, and the Common Good: An Introduction to Political Science English 200 “The Wanderer” Excerpts from the Canterbury Tales Sir Gawain and the Green Knight; Malory, excerpts from Morte Darthur Marie de France “Lanval”; Margery Kempe, excerpts from The Book of Margery Kempe; Julian of Norwich, excerpts from Showings Spenser, excerpts from The Faerie Queene, Book 1, Cantos 1,2,4,7 (Stanzas 29-46),11,12 Shakespeare, Twelfth Night Renaissance Lyrics: Wyatt, “They Flee From Me”; Marlowe “The Passionate Shepherd to His Love”; Ralegh “The Nymph’s Reply to the Shepherd”; Jonson, “On My First Daughter,” “Song: To Celia”; Wroth, “74: Song”; Herrick, “Delight In Disorder,” “To the Virgins, to Make Much of Time”; Lovelace, “To Lucasta, Going to the Wars” The Sonnet: Wyatt “I find no peace”; Sidney, from Astrophil and Stella, 1,2,41, 74; Spenser, from Amoretti 1,64,75; Shakespeare, 18, 20, 73, 130; Donne from Holy Sonnets, 5, 14; Milton “How Soon Hath Time,” “When I Consider How My Light Is Spent” The Metaphysicals: Donne “The Flea,” “The Bait,” “Elegy 19: To His Mistress Going to Bed”; Herbert “Easter Wings,” “The Collar”; Crashaw, “On the Wounds of Our Crucified Lord”; Marvell “To His Coy Mistress” Milton, excerpts from Paradise Lost: Book 1, Book 2, Book 6 (lines 550-912 only), Astronomy Astronomy Today by Chaisson & McMillan (including Mastering Astronomy)

[gellavonhamster]

The presence of feminine traits in Dinadan’s own character might give the reader another reason not to take Dinadan’s criticism of love-smitten knights as an argument against the place of women in the world of chivalry. While Dinadan does moderately well in tournaments, he is often gently mocked by his judges too. On one occasion he jousts with Lancelot, who is dressed as a woman, and when Dinadan loses, Lancelot’s squires force Dinadan into female clothing. Later, Dinadan mocks Tristram for losing a tournament to Palomides, but ‘all this langayge Sir Dynadan sayde because he wolde angur Sir Trystram for to cause hym to wake hys speretes, for well knew Sir Dynadan that, and Sir Trystram were thorowly wrothe, Sir Palomydes shulde wynne no worship uppon the morne’ (438/10:72). His plan works as Tristram takes his words to heart, and it is Gareth who guesses Dinadan’s intent, and explains to Tristram: ‘Pardé, sir, he seyde hit for none ylle, for ye ar the man in the worlde that he lovyth beste, and all that he seyde was for youre worshyp’ (441/10:74). Gareth has had plenty of experience of ‘raylynge langage’ (438/10:72) at the hands of Lyonet, and recognises helpful chiding for the sake of ‘worshyp’ when he hears it. Dinadan is the only male character to employ the technique of the chiding damsels. Perhaps he is bemused by the madness of lovesick knights because he has no need for female companions in his life; he already possesses the traits characteristic of female judges of knightly deeds. Coleman suggests that Dinadan’s language is damaging, that ‘used in a good cause, it is nonetheless inherently deceptive.’ She goes on to conclude that Malory’s Dinadan ‘exposes not the superficial silliness of court ritual but the inevitably destructive consequences of human instability.’ Whilst this may be true to some degree, it is important to keep in mind the driving force behind Dinadan’s behaviour; as Cooper has observed, ‘his love for and service of Tristram is his primary motivation.’ Dinadan’s words and actions are generous, they attempt to further the reputation of a comrade, and so they denote fellowship; Dinadan’s language shares all of the attributes of Malory’s chiding damsels.

— Women of Words in Le Morte Darthur: The Autonomy of Speech in Malory’s Female Characters by Siobhán M. Wyatt

[malorydaily]

Dorsey Armstrong’s insightful comparison of source texts leads her to observe that ‘the agreement [to have sex] between Arthur and Lot’s wife, while implied in Malory’s source text—the Suite du Merlin—is not given the emphasis found in Le Morte Darthur.’ However, Armstrong also concludes that ‘it is her willing participation in the conception of Mordred—not the adultery or the unintentional incest—that prepares the reader for Arthur’s nephew/son to be such a monster.’ While Morgause’s conception of Mordred of course greatly limits any constructive influence she might have on Arthur’s kingdom, that is not to say that Morgause’s role as mother of the enemy necessarily depicts her in a negative light. There is no evidence to suggest that Morgause has any magical foreknowledge that her night with Arthur will produce Mordred, so her conception of him cannot be called ‘willing’; it is crucial to look past the consequences of Morgause’s actions and rather to focus on char- acter reactions to her and other textual details in order to gain true insight into her portrayal in Le Morte Darthur.

Morgause is first mentioned in Malory’s text during her marriage to King Lot, which is arranged by Uther (5/1:2). Malory’s comment that the weddings took place at Uther’s command emphasises the absence of love from these unions, which equates Morgause with Guinevere and Isode to some extent; none of these queens voice any suggestions of affection towards their husbands. Malory consistently equates troubled marriages with such an absence of emotion, and this perhaps prepares the reader for Morgause’s affairs.

[...]

Morgause’s affair with Arthur does not reflect such a love, and Armstrong rightly points out that Malory emphasises her complicity in the affair. In Malory’s source text, La Suite du Merlin, the anonymous queen has heard rumours that Arthur could be her brother, but this news is rather glossed over, for later, she finally sleeps with him: ‘Le fist demourer en sa court II. mois entiers, et tant qu’en chelui terme il gut a li et engenra en li Mordrec’ [He kept her at the court for two whole months, and after so much time lay with her and begat on her Mordred]. It is worth noting that in the Vulgate version Lot’s wife is entirely blameless, for Arthur slips into her bed when Lot is away and she mistakes the youth for her husband. Morgause of Le Morte Darthur is more forthright in declaring her consent to participate in the affair than her predecessors, but Malory gives no judgement on her actions, directly or through any of the other characters, and certainly removes any suggestion that she may have wittingly committed incest.

– S.M Wyatt, Women of Words in Le Morte Darthur

[gellavonhamster]

monthly media recap: november 2023

read:

Women of Words in Le Morte Darthur: The Autonomy of Speech in Malory’s Female Characters by Siobhán M. Wyatt - an interesting work, even if I might disagree a bit about some things (and still don't like Elaine of Corbenic, sorry). Enjoyed all the shade thrown at Tristan, well deserved :D I've quoted some fragments here and here.

The Tale of Stone Bread (Повесть о каменном хлебе) by Yana Timkova - where do I even start. It's a short novel about the live-action RPG community in the 90s Russia, specifically about the manipulative relationship dynamics encountered in it. The first half of the book is about the protagonist - an inexperienced teenage girl who's a newcomer to that scene - being groomed by an older girl in her 20s who collects people into her clique and makes them her obedient little minions by making them believe they were lovers in the past life, and in the second part the protagonist, already older, recreates the same dynamics with younger people. It's very bleak (despite the open ending that suggests that the main character might change for the better and break the cycle) and not very well-written, but I couldn't put it down, because sometimes you just can't stop looking at some shitstorm unfolding, you know? Also, it reminded me so much of what a friend of mine told me about her teenage years in the LARPing community that it sent chills down my spine - of course, the book exaggerates a lot to make it more dramatic, but so much of all that insanity was real, and apparently still occurs, from what she's telling me. And the main characters are said to be inspired by real members of the 90s-00s Tolkien/The Witcher fandom, including some singers popular in certain circles... all in all, not much of a book, but one hell of a tea to spill

+ started King Arthur’s Enchantresses: Morgan and Her Sisters in Arthurian Tradition by Carolyne Larrington, but then stuff happened, and I put it on pause. Will definitely come back to it, though. Also, I started One Piece and I'm already on Chapter 493 🤡 the things that happen when you're stuck at home with a sprained ankle

watched:

nothing to report here, alas

[malorydaily]

Nynyve’s entrance to Arthur’s court is decidedly less impressive than Niniane’s, her source character from the Post-Vulgate La Suite du Merlin. In the French text, far greater attention is paid to the woman’s appearance and unusual attire; she is ‘une des plus bieles damoisieles qui onques fust entree en la court le roi Artus’ (214) [one of the most beautiful damsels who had ever entered the court of King Arthur] and dressed as a huntress, complete with bow and arrow and ivory horn. Both women are abducted by a strange knight who rides into court, but the French Niniane puts up a fight, whereas Malory’s Nynyve is easily carried off, much to King Arthur’s relief, ‘for she made such a noyse’ (66/3:5). Malory’s lady, how- ever, maintains the same characteristics found in questing damsels such as the ladies of Arroy: she provides an opportunity to test knightly courtesy. Arthur fails this test by neglecting Nynyve’s request, and it takes the chid- ing of Merlin to make the king change his apathetic attitude towards her plight: ‘Thes adventures must be brought to an ende, othir ellis hit woll be disworshyp to you and to youre fest’ (66/3:5). In contrast, the French Niniane, despite her beauty, is something of an inconvenience at court. When she demands compensation for the loss of her hound and also the

disruption to her hunt that caused her to lose sight of the stag, Merlin tells her that Artu will not help her until the feast is over. In fact, Merlin establishes a new courtly custom in response to her interruption of the festivities:

Car des ore mais avra en cest ostel tel coustume que pour aventure qui aviegne, se peril mortel n’i devoit avenir, ne se remuera chevaliers qui a table se sieche devant qu’il ait mengiet. (216) [From this hour it will become the custom in this house that for no adventure that may happen, unless mortal danger should come of it, should a knight who is still at the table get up before he has eaten.]

Even when the lady is abducted, the French author seems mainly concerned to highlight Merlin’s credibility as a seer. Artu’s barons express admiration that Merlin’s prediction of the arrival of such an adventure to court has occurred, and Merlin’s casual order to Pellinor—‘montés quant il vous plaira, et alés apriés le chevalier et ramenés la damoisiele, et si le faites que vous i aiiés hounour’ (217, emphasis mine) [mount when it pleases you, and go after the knight and retrieve the maiden, and do this so that you will win honour]—pointedly implies that her plight is not a matter of urgency.

Malory’s slight alteration of the narrative reverses the French apathy towards Niniane’s abduction. By removing the description of the maiden’s beauty and the interval between the point where the knight steals her hound to where she herself is abducted, Malory lets the action take over. The maiden is carried off as soon as her brachet is stolen, allowing the focus to centre on Arthur’s bad response to the ‘adventure’ and Merlin’s correction, which decrees that ignoring a woman in distress will bring ‘disworshyp’ to all concerned. Malory thus portrays Nynyve as non-magical to set up the duty of protection that knights must swear to all defenceless women, and while her characteristics are rather insipid at this point, Merlin ensures that she is still recognised as having the right to request assistance from Arthur and his knights.

– S.M Wyatt, Women of Words: The Autonomy of Speech in Malory’s Female Characters

[malorydaily]

Armstrong notes the contrast between Morgause’s liberal sexual behaviour and the passive nature of her mother, Igrayne. She suggests that Igrayne ‘stands out as the exemplary female in Malory’s text, quickly and silently adapting to the needs and wants of the men who fight over and exchange her.’ In Malory’s world of chiding damsels, adulterous queens and spirited female wooers, including the two Elaynes, Igrayne’s comparatively passive character seems to be the exception rather than the rule in Le Morte Darthur. If readers were to follow Caxton’s advice, to ‘doo after the good and leve the evyl,’ it would seem unbalanced indeed if Igrayne should be the only example of ‘good’ womanhood available for female readers to emulate.

– S.M Wyatt, Women of Words in Le Morte Darthur

[gellavonhamster]

monthly media recap: october 2023

read:

The Trial of Sir Kay + Exiled from Camelot by Cherith Baldry - putting them together because the first one is just a short story. Two Arthuriana retellings focused on Kay, and both of them amazing; the author's vision of the characters might've sometimes differed from mine, but the characterization was great in any case, and the writing is beautiful. Loved what the second book did with Brisane, and Gareth was such a sweetheart (as he should be, alright, Gerald Morris?!). And, of course, Kay. Good for him. He deserves appreciation

Vaidelote by Aspazija - a beautiful play; would love to see it performed on stage, and preferably in a non-modernized staging with the costumes and scenery presenting the 19th century picture of the pagan past

Forbidden Brides, by Neil Gaiman and Shane Oakley - a very short graphic novel based on a short story. Actually very funny, made me smile and kind of reminded me of Northanger Abbey because of how good-natured its parody of the Gothic genre is.

+ currently reading Women of Words in Le Morte Darthur: The Autonomy of Speech in Malory’s Female Characters by Siobhán M. Wyatt

watched:

Hausu (1977) - what a strange and beautiful film. Feels somewhat like a collage and is paradoxically scarier thanks to its unreality and whimsy

Castlevania: Nocturne (season 1, 2023-?) - vive la révolution! So far I feel like the first one was better, but I still enjoyed this one a lot. I'm not familiar with the games, so every plot twist is a big surprise for me, it's fun. And what a cliffhanger at the end!

One Piece live action (season 1, 2023-?) - as you can see from this blog, I liked it a normal amount, lmao. The found family and whimsy and sincerity and everything really got to me. You know when you're a kid and find some strange but awesome book in a library and devour it in one sitting? This is what watching it felt like.

Ragnarok (season 3, 2020-2023) - you know what, I'm mostly copying bits and pieces of these recaps from my Twitter threads, and if you follow me there, you might've seen me leave a pretty mild review - not nearly positive, but mild. Thrilled to announce that I slept on it and decided that actually no, I hate it :))) what a way to ruin a decent show.

[plumbobbles]

Food’s ready!!

[plumbobbles]

All of the food was a major success with everyone.

[plumbobbles]

Time to let loose and dance.