#pakistani novels

[kafi-farigh-yusra]

Daada kehtay thy agar ap dono pathar k zamanay mai hotay, tw bhi aik dosray ko mil jatay.

Aab e Hayaat by Umera Ahmed

[maihonhassan]

when Parizaad said;

"kuch shaamein aesi dhalti hain ke sooraj k sath sath hamara dil hi doob jata hai, dooba sooraj tou agli subha phir nikal aata hai, magar jo dil ek dafa guruub hojaye wo kabhi tuluu.a nahi hota."

[ ग़ुरूबغروب setting (of the sun, moon etc) sunset]

[ तुलूअ'طلوع a rising (as of the Sun, Moon or stars ]

[1eatboys]

I keep seeing the odd post here and there mentioning that Ballister Blackheart is white in the Nimona comic and it hurts my heart a little each time I see somebody say that bc he’s actually not! Ballister Blackheart is canonically Asian in the comic, he is East Asian and simply has light skin.

I just find it saddening and wrong (granted I’m white myself so maybe it’s not my place to have an opinion on) to erase a character who is canonically a poc just because they have light skin :/

This is not a diss to people who didn’t know or people that were mistaken, that’s sort of the reason I’m making this post, so more people can know the truth rather than be misinformed or assume incorrectly.

(Context of the photo attached is that it is from a QnA Nate did on the Nimona comic years ago)

Edit: added alt text of everything written in the photo

[jobsinfoandnewsupdate]

Bhavani Junction History Hollywood

Some time after entering Punjab University, when I started visiting the restaurants and tea houses of Pak Tea House and Pomegranate Village, Temple Road, Achhra, Nisib Road and Lakshmi, I met many people who were told about or had He himself said that he has worked with Eva Gardner in the English film “Bhavani Junction”. Then the stories of Eva Gardner’s beauty and beauty would be…

[pebblegalaxy]

Exploring Marginality and Love in Lahore: The House Of Clay And Water by Faiqa Mansab

Exploring Marginality and Love in Lahore: The House Of Clay And Water by Faiqa Mansab #Lahore #PakistaniLiterature @FaiqaMansab @PenguinIndia #Sufism #GenderIdentity #SocialJustice #ContemporaryFiction #AwardWinningNovel

The House Of Clay And Water by Faiqa Mansab is a debut novel by Faiqa Mansab, a Pakistani author who has an MFA in creative writing from Kingston University London. The novel is set in Lahore, the city of saints, and explores the lives of three characters who are marginalized and alienated by the society they live in. Nida is a wealthy but unhappy wife of a politician, who seeks solace in the…

[booksperience]

(via The Reluctant Fundamentalist by Mohsin Hamid)

While this conversation scene is fairly tranquil, the subject matter is not. Changez is subjected to constant “othering” during his stay in the US. Even prior to the World Trade Center attacks, he is never quite included in social circles, never quite one of the crowd... (Read full text on Booksperience site.)

[bookstagramofmine]

Book Tour: Midnight Strikes by Zeba Shahnaz

Book Tour: Midnight Strikes by Zeba Shahnaz @NetGalley @zaybashah @TBRandBeyond @TBRBeyondTours @DelacortePress #BookBlog #BookReview #Fantasy #YAFantasy #DesiWriter #DebutNovel #PakistaniWriter

Thank you TBR and Beyond Tours for the chance to read and review Midnight Strikes by Zeba Shahnaz! I’m so happy to be on this book tour for a fantastic female Pakistani-American writer!  Midnight Strikes is Zeba Shahnaz’s debut novel! This 443 page long book was released on the 14th of March and was published by Delacorte Press. Most of us have encountered the time loop trope because of the…

[thecorvidforest]

i keep seeing (hopefully mostly unintentional) whitewashed fanart of Ballister from the Nimona movie and i’d just like to remind any white people who may be doing fanart -

Ballister being brown is a very important part of the film. i know his skin is much lighter in the graphic novel, but as a brown person who watched the film it’s pretty obvious that they cast a Pakistani man to play him because on top of being a trans allegory, it’s also an allegory for racism. it’s intrinsic to the story told in the film.

same thing with Ambrosius being Korean. the story being told with the casting of Riz Ahmed as Ballister and Eugene Lee Yang as Ambrosius is of a brown man being framed to keep the power in the hands of white people, and of those in power using east asians (see: the model minority myth) to prop up white supremacy.

i could go on but i think you get the point. all that to say - the color of Ballister’s skin wasn’t just a choice made in passing to make the cast more diverse. same with Ambrosius. please make sure you’re representing that in your art.

[kafi-farigh-yusra]

Aliyan:

Tum apnay ghar ka address do mai tumhari khirki tak tw aa hi jaunga.

Amraha:

Ye tumhara Manchester nhi hai spiderman jo tum idhar udhar koodtay phiro. Yahan hum ghar k bahir khardaar tarai'n lagatay hain aur us mai current chor dete hain.

Aliyan:

Kiyun?

Amraha:

Tum jese Romeo k liye.

Aliyan:

Lahore mai Romeo nahi hotay kiya?

Amraha:

Hotay hain, pr sath mai Juliet k abba jaan bhi hotay hain.

Yaaram by Sumera Hameed

[maihonhassan]

This generation needs to understand what Nimra Ahmed has written:

"Kisi insaan ke paas itna ikhtiyar nahi hona chahiye ke wo sirf lafzon se apka zehni sukoon cheen sake."

[canmom]

booksbooksbooks - "yeah ok uh. you're worthless! how about that!"

I read Tell Me I'm Worthless by Alison Rumfitt! I have previously talked about Brainwyrms on here, her second novel; this is her first, and honestly they are such similar books (thematically, structurally, stylistically - it's possible even that they are in a shared continuity) that a second comment almost feels redundant - but then it turned out I had a lot to say when I got into it. Spoilers below, though I think most of the effect of this book is how it's told rather than what happens.

(Also: the recent bookcrit posts will sometime soon be making their way to canmom.art for easier reading - I've rather dragged my feet on that but Soon(TM).)

So this is a haunted house book that's about fascism. You know it's about fascism before the book even begins, since it says as much in the content warning. More specifically it's about British fascism, personified in an evil house called Albion at the edge of Brighton that corrupts all around it, drawing people in and bringing out the fascist mindset in them.

It would be reasonable to fear this might end up as a polemic loosely packaged as a novel - even if an absolutely on-point and warranted polemic. You can absolutely see how characters fit into the 'argument': a white trans woman who has not fully escaped her racist upbringing on the one hand, her Jewish-Pakistani girlfriend* who runs into the arms of the TERF movement on the other, their blonde cis third wheel who is the first to be fully corrupted by the House. A plot hinging on conflicting accusations of rape; the house itself being established through a series of eugenicist murders. And on top of that, in between parts you get some quotes from, variously: Félix Guattari's Everybody Wants to be a Fascist, Isabel Fall's Helicopter Story, Umberto Eco's Ur-Fascism, a Stewart Lee skit, and William Blake's A Little Boy Lost (primarily for the 'Albion' pull I think).

*actually a deep closeted trans guy, wouldn't ya know it

I think it would be easy to find this directness kind of annoying, but what makes it work for me is largely its style. Rumfitt has a hell of an ability to set a mood and environment, to convey the all-too-real bitterness and pain of its characters in circumstances I recognise. It is a story more than willing to veer into delirious fever-dream streams of consciousness or to spend a few pages quoting some fetishist imageboard rant at length. But more important is the genuine and raw anger of the author that seems to run through it: when the narration slips into addressing the reader, it feels like the intensity of feeling can't be contained in fictional devices anymore. The word 'sharp' is surely a cliché, but this is the kind of book to leave you looking up and going 'phew' between chapters. It works because it is able to make you feel the bleakness that its narrative demands.

(Possibly a relevant comparison at this point would be Sálo, but something to develop another time.)

At the same time, it's a book that is so blatantly About Stuff that it's almost impossible to read it simply as a novel. It has a certain degree of mystery structure (what happened in the House? what became of Hannah? who raped who?) and escalating waves of intensity to pull you along, it's got setups and payoffs and callbacks as the ideas raised early in the story bloom again in the final blast of words, but it's not really something you can simply take as a haunted-house story. Some of the biggest horror scenes would be kind of completely ridiculous without the metaphor-drenched context.

We can describe the main beats, all the same.

the bit where I summarise the plot

Alice and Ila are two survivors of an ill-fated expedition into an abandoned house. Alice (trans girl) is haunted by something which manifests in the form of a stain on the wall, and when she covers it by a picture of a racist singer from the 80s who she once admired, his phantom (it's presumably Morrissey, but they book doesn't ever name him). she gets by through shooting sissy hypnosis videos for clients who have her say all sorts of dubious racist shit. Ila (cis) has been welcomed as a token brown woman for the TERF movement, getting interviewed on the radio and invited to conferences. Both of them remember being raped and multilated by the other during the visit to the House - more on that anon. The third member of the party, Hannah, entered with them but never left the House.

Alice's closest thing to friends are a hetero couple of hard partiers; the guy Jon is into knifeplay and it's clearly not something his partner is all on board with. She tries to hook up with a girl but the Morrissey-haunting scares her away, providing some setup for the concepts of haunting this book will use. Ila, meanwhile, is almost raped by another TERF after recounting her story at a conference; the woman in question preemptively DARVOs her on social media so she won't tell. Some other cis(?) girl who Ila had deliriously called a tranny during sex (thanks House!) seconds it. Throughout all this, Ila has been frequently messaging Alice asking to talk again.

The narrative jumps around; we gradually learn more about the circumstances of their previous trip into the House (named Albion by its first two inhabitants), and its history: built by a gay guy in a period that would get you arrested and named Albion by his 15-year-old lover, then the site of a series of eugenicist murders (with explicit allusion to Bluebeard); in modern times, the random suicides it inflicts on the people in the buildings around it, etc. It's a real bad House

So, Hannah (cis, straight) had been feeling third-wheeled by the couple Alice and Ila. We get some flashbacks as Hannah: that time Alice and Ila had sex on the beach and Hannah totally heard it all, that time Hannah hooked up with a black guy and Alice and Ila were kind of assholes to him... When they enter the house together, Hannah becomes separated and drawn to the red room at the heart of the house. When Alice and Ila enter, Hannah is fully claimed by the House and physically transformed into a human swastika, and the narrative splits in two as both Alice and Ila enact brutal rapes on each other; in one version, Alice cuts 'ARBEIT MACHT FREI' into Ila's belly, in the other, Ila cuts a symbolic vagina into Alice's scalp. The two of them leave the House with these injuries, and the narrative pointedly refuses to tell us that one is the real course of events, or that something else happened.

Ila contacts Alice and convinces her to return to the House to put an end to it. They try to have sex and they're not feeling it; then they have nasty politicised sex, which gives the book its title:

“Call me it, please,” she says. “Call you what?” “You know. You know you want to, as well.” She hesitates for a moment. But Alice is right. She does want to. “You fucking tranny,” Ila moans. “God. Fuck. Please.” The pleasure is nearly unbearable for Alice. “Do it again. Tell me what you think of me, what you really think of me. Tell me I’m nothing. Tell me I’m worthless.” “You,” Ila grabs Alice’s hair, “are a fucking worthless tranny.”

Finally the two go into the House and we enter a kind of fever dream of an alternative fascist-ruled timeline in the green and pleasant lands where Mosley plays on the radio, Alice never transitions and marries Hannah and kills herself, Ila is deported to unknown quarters, and then in a parallel vision they both embrace while respectively self-disembowelling and bleaching -

then, finally we get a version where they escape alive and burn the House, only for its curse to continue to affect the next building to be built there, which gives rise to a bomber who bombs the Pride parade where Alice and Harry (formerly Ila) are walking together. But they hold each other in the ashes. t4t end.

You get all that?

I'm leaving out various dream sequences, flashbacks, and meditations on the state of things, like the factory or the, 'shitty transvestite pigs', which could honestly be said to be more important than the narrative itself.

fascism then

So for a book that is so much about fascism, what does it actually have to say on the subject? The facet of fascism examined here is mostly of the online-radicalisation or unspoken-sentiment type, the thing you tell yourself is a joke until you stop telling yourself that. The characters are carrying intrusive patterns of thought, taking different but similar forms for each. The House, or the ideology, feeds on their interpersonal resentments and drives them towards self-destructive cruelty.

In the narration that is (at least at times) their train of thought, they ask themselves why they stay in the House, or get drawn back. The closest thing to an answer comes, in Hannah's point of view, shortly before the dual rape scene:

Alice tried to kick open the door, but it wouldn’t move, however hard she kicked. It felt like there was nothing on the other side of the door – that it wasn’t a door at all, but the border to the world, and the inside of this room was the entire world. If you were to open the door you would find… what? The world outside is dark and unknowable. In the room you are safe. You are subject to violence, abuse, mistreatment, hurt, pain, all of the above, but you are safe from what is outside the room and that is what matters, inside the room is the pain you know, outside the room is the pain you do not know, it’s not a hard choice to make in the end, to sit here ‘neath the burning sun of her body, (...)

But more than that, fascism is some kind of permanent infestation. The House itself is at once England (as the name Albion suggests) and the persistent, seemingly eternal infestation of fascist ideology, which are pretty much one and the same - a country so racist that it will vote to kill its own immune system right before a global pandemic, a country so racist that the very ground stinks, a country so racist that your seemingly left-liberal parents have a map of the British Empire hanging on their wall (excerpted from the middle of a run-on-sentence too long to reproduce here).

So Alice and Ila confront their dalliance with fascism by returning to the House, and in a sense purge themselves through this catabasis; but fascism is not destroyed when the House is ruined, or burned down, or replaced with flats, and keeps growing back to consume more lives.

Mostly the thing the book seems to have to say about fascism is it's fucking everywhere and it's terrifying, a sentiment that is hard to disagree with. But it also has a fair bit to say in depicting its dynamics in the modern world.

What of this dual rape scene then? There is a scornful paragraph at one point about how the social-justice rules of engagement totally fail, mockingly describing how you could plug the two characters into an intersectionality calculator to determine who has narrative authority here, ending with this remark:

So, there’s just two girls leaving a house and maybe you don’t have to take a side, maybe you can empathise with them both and hope they get the therapy and help they need and can learn to forgive one another. No. You can’t do that. Are you a fucking idiot? Are you that fucking stupid that you genuinely think you can do that and that something like that is possible?

At the same time as presenting this situation of absolute ambiguity, the book doesn't seem shy about acknowledging there are straight up bad actors, whether Jon or the older TERF; recurring more than once is the idea of the moves a rapist might make to silence a victim or witness. All sorts of lines: "I'm too important to the movement, think of what would happen", or blatant lies, "it's the only way [the unconscious person] can get off".

All of this, frankly, accords with my experience of the world; these are all things that happen. If it revels a little in setting up these little ironies in its account of the TERF movement (elsewhere we see Ila making up stories to post on a forum that is obviously Mumsnet), it is also painfully cognisant of the ugly dynamics of accusations. Elsewhere this very website gets a shoutout! In an Alice POV chapter:

When I was about fifteen, I used the website Tumblr. It still exists, as far as I know. It was a strange place, and it’s hard to even describe how the culture of it felt when you were part of it: at times welcoming and at times unbearably tense. It was the first time I really read about what being trans was, and it was also where I was sent endless anonymous messages telling me to kill myself. People would often accuse others of things, baselessly, and those accusations would stick to them however much they tried to shake them away. One of my Tumblr mutuals was accused of being a paedophile and a Nazi. We hadn’t really talked much at all – she’d re-blogged my selfies a few times, and I hadn’t thought much about that until people started to accuse her. I began to wonder what her intentions had been when she shared a fifteen-year-old’s selfies. She denied these accusations, of course. Anyone would. She claimed that the people accusing her of being a paedophile and a Nazi were TERFS – and the problem was that some of them were. Or had, at least, started to share TERF rhetoric onto their blogs. Which made sense… they had just been exploited by an older trans woman, and suddenly these other older women were telling them, oh, come join us. There’s a pattern to this, and we don’t have to accept it as normal. I didn’t understand it at the time, I was just angry, angry and confused, but I get it now, with Ila spooning me. I understand why she is the way she is. I hope she understands why I am like I am, too. (...dialogue about the House happens...) I stopped using Tumblr shortly after that whole affair, and after having other people creep on me too – most notably a nineteen-year-old fat rights activist who seemed obsessed with my hair. I turned to 4chan and other forums in that vein, where, even if there were Nazis and paedophiles, at least they were generally honest about being those things, even as they remained anonymous. It felt better to know that I was talking to someone who liked to masturbate over little boys than to talk to someone and find that out about them later.

I was a bit older than the fictional Alice when I arrived on here, and I've never had the sense to leave lmao, but this accords well enough with my experience - notably, I strongly recall how a certain opposed accusation of rape/abuse (with knifeplay involved!) torpedoed the simplistic 'believe accusations' worldview I had held onto up to that point. The girls involved became a cause célèbre for two rival factions in the trans scene at the time, with who you believed largely depending on who your friends were, each rallying to defend theirs and cast the others as apologists. Ironically, both those groups would later fall apart.

Whatever parallels I might draw to touchy real life history, we can certainly see here some of the devices this book likes to use: a long personal illustrative anecdote of some messy shit, seguing into a moment of narration and a remark that connects it to the present, and helps sketch its characters as the extrusion of much-larger social forces. It is not easy to adequately capture complexity without getting completely lost in mush, and I think this book manages solidly. (I am tempted to draw certain parallels to works like Psycho Nymph Exile which address similar dynamics, but that would be way more than I want to get into right now).

It is strange reading this book, in many ways. I have only been in Bright a few times, but once was indeed for a Trans Pride, and I remember sitting on the beach described in the book (I went home before anyone started fucking). I may not have shown up to some anti-TERF demo, but I know well the 'tuneless chants' that Ila derides in her early POV chapter. So many trans books are American, and here is one that is furiously British, and that certainly strikes a chord.

With everything so caught up in magic and metaphor, what can we pull out of our own immersion in this book's wash of terrible images? Simply to love each other defiantly, in the spirit of the old songs? I recall talking with @thesiltverses on how horror and dystopian fiction undermines itself by presenting a relief at the end, and I am inclined to agree. There is no relief here, no 'this is what we need to do to counter the rise of fascism'; it is a story that ends only in a tragic moment of defiance, tinged with that little cynical detail, after a fascist bombs a Pride parade:

He goes to her, on his hands and knees, rubble and blood and bodies all around them. The police, the ambulance, the news crews. They are coming. Photographers are taking pictures of them, and they will put these pictures on the front pages of newspapers, and the picture will be with them forever, they won’t ever escape it, two trans people covered in blood and embracing amidst the carnage. The photographer who gets the image wins a prize for it. They don’t know that yet. They only know this: Harry crawls towards Alice with the last of his strength, his arms outstretched and reaching. The rain will come. When it does it will be bloody. The future will be red-tinted and unknowable, but they will be together. Come to me now, mouths Alice. Hold me.

I feel like this is the tone of a lot of recent tranny-adjacent fiction: we cannot stop them coming, but we will live furiously all the same: a story about the possibility of a pocket of change, that two people so thoroughly corrupted by the House could move past it. Is that all we can hope for? If we can win more, it's probably not for a horror novel to say so.

I know I know at least one person who has known Alison Rumfitt, the UK trans scene being what it is. I'm glad her book is resonating with people, if it is only those who show up at queer bookshops (shoutout to Category Is books where I got my physical copy). We are certainly experiencing a moment for grimdark fiction, and while that suits my tastes rather more than the 'cosy', I distrust any self-congratulation about being soooo transgressive and nasty compared to those pathetic wimpy steven universe gays. This, however, is something quite different: it's nasty because it's simply extremely pointed and the subject kind of demands it.

A couple of weeks ago I was discussing with some people at the film festival about how you'd do a film adaptation of this book. Having now read it, I'm scratching my head - it seems rather unfilmable, because so much of what it's saying is caught up in internal monologues and devices of narration that would hardly translate to the screen. But hey, you know what, if someone tries, I want to see.

[cripplecharacters]

i'm debating giving one of my OCs strabismus exotropia. the work/story is YA SFF. part of my reasoning is he's one of two characters in the group who's the Brains, his specialty being history and languages, and his magic relates to mind reading and telekinesis, and i know too often characters with eye differences are portrayed as the opposite of smart. one of his big hobbies is reading and i know strabismus can affect it bc of focus/headaches, so i thought maybe reading/being fluent in braille could help him engage in his hobby when actual reading is getting on his nerves / refer to his amblyopic eye as his "permanent side eye" as he can be quite critical of others sometimes. his personality is being smug but normally right and very sure of himself (though not without his insecurities), he's seen as a bit of a Pretty Boy (handsome), and is the youngest of his group of friends so they do look out for and protect him a bit more. is there anything else i should look out for, or any way i may be playing into tropes i'm unaware of? he's also queer (gay) and brown (pakistani coded) if that helps any provide context, and has an antagonistic bickering but genuine friendship with another boy (the other brains) that eventually develops into a romance

Hello!

In general, this sounds like a perfectly fine character concept and there's nothing about his personality/portrayal that's immediately jumping out at me. He sounds like a well rounded character, which is something I'm very glad to see!

One thing I would like to mention is that, while braille may be a useful tool for him at times, it's not likely to be a feasible solution for his day-to-day life.

Braille books aren't like regular printed books, there are quite a few differences that make them much more difficult to use:

Size:

Braille books aren't easy to carry around. With the possible exception of some smaller children's books, most are pretty thick and VERY heavy. In fact, many braille books are split up into several separate volumes for this reason.

To put the difference into perspective, let's look at The Fellowship of the Ring (The first Lord of the Rings book).

A standard printed copy generally weighs around 1.5 lbs, give or take a bit if it's a hardcover. A braille copy of the same book weighs over 15 lbs.

This printed copy has 432 pages including pages for spacing, author's notes, etc. The braille copy has 873, not including any non-text pages.

The physical dimensions of braille vs printed books also differs greatly. While a printed copy of The Fellowship of the Ring may easily fit in a small bag or even a pocket, the braille copy is around the size of a standard three ring binder (In terms of length and width at least).

This is all to say that taking a braille book with him out on the go wouldn't exactly be a simple task and, because of how braille is read, reading on the bus or on a park bench or anywhere that isn't a flat surface without disruption wouldn't be a possibility.

Cost:

Aside from the problems with physically reading and using braille books, it's also very difficult to acquire them in the first place. Braille books are EXPENSIVE.

Depending on the availability of the book, the size, and the popularity, a single braille novel can go for anywhere from 50$ to well over 300$ (In Canadian dollars).

The hardcover printed copy of The Fellowship of the Ring mentioned before costs around 25$ (Again, in Canadian dollars). The braille version ranges from around 150$ to 225$ depending on the type of braille.

And if your character wants to request a less popular book, it can still be pretty expensive. There's a wide range of factors that can affect the cost and it varies so wildly that it's hard to get a reliable estimate but they could be looking at anywhere between 5$ - 50$ per page.

Although some libraries may have braille books and there are several virtual libraries for the blind with braille books, it can still get very pricey for them to build up their own collection.

Availability:

In part because of this cost, there is a very low availability of braille titles compared to printed titles.

If your character is into more popular books like Harry Potter, Lord of the Rings, or some of the classics, they'll have little issues finding a copy.

Beyond that, unfortunately, they'd be out of luck. If a book isn't incredibly well known, it's a very slim chance of there being a braille version. Likewise, there's also very low chances of finding more recent releases.

Even one of my old favourites, The Perks of Being a Wallflower -- which was written around ten years ago and is fairly popular, doesn't have any braille copies.

While it is possible to get a book printed in braille for yourself, the costs of it can get quite high (As shown above) and it's not generally an option that people go for.

Durability:

The last point I want to make is that braille books don't last as long as printed books. Although braille is read with a light touch, the braille does get worn down over time.

Library books in particular are an unfortunate victim to this. Because so many different people are borrowing the books, they often get worn down much quicker. This can be because of new braille readers using a harsher touch when reading or it could be because of improper storage, either from the readers or from the library itself. It's less likely that somebody will notice when the braille is worn down.

The braille itself isn't the only concern. A lot of braille books are bound differently than printed books are and often use plastic for the bindings, which requires more care than the usual bindings of printed books. I've included an example of what a braille book may look like below.

[Image Description: A braille copy of The Fellowship of the Ring. It is open to a tactile map of Middle Earth. The binding is made of small, circular pieces of plastic, similar to a notebook of sorts. End ID.]

Now, this all isn't to say that he can't use braille books -- these are just some things to consider. And if you do choose to go in a different direction, may I suggest audio books?

Audio books have a wider availability than braille books do and are much less costly. There's also the added benefit of being able to take them pretty much everywhere with you, as long as you have one or two downloaded to your phone.

You could also go with having a balance of the two. Maybe your character uses audio books with his headphones or earbuds during the day and reads his braille books at home so he can give his ears a break from his headphones/earbuds.

Another option is large print books or e-books that allow you to adjust the font size, which could make it easier for your character to read them. There are also other strategies that he could use when reading regular printed books, such as covering an eye or using a bookmark to sort of box in the lines as he reads.

As one quick final note: Reading braille is actual reading! Braille is just another language with a different -- not lesser! -- method of reading it.

Hopefully some of this information helps! If you're interested in knowing more about the specifics of braille books, Blind In Mind's Braille Bookstore has a lot of great resources and their copy of The Fellowship of the Ring is the one I've been referencing.

Cheers,

~ Mod Icarus

[the-book-ferret]

In this engaging and moving middle grade novel, Saadia Faruqi writes about a contemporary Pakistani American girl whose passion for journalism starts a conversation about her grandmother’s experience of the Partition of India and Pakistan—and the bond that the two form as she helps Dadi tell her story.

When her grandmother comes off the airplane in Houston from Pakistan, Mahnoor knows that having Dadi move in is going to disrupt everything about her life. She doesn’t have time to be Dadi’s unofficial babysitter—her journalism teacher has announced that their big assignment will be to film a documentary, which feels more like storytelling than what Maha would call “journalism.”

As Dadi starts to settle into life in Houston and Maha scrambles for a subject for her documentary, the two of them start talking. About Dadi’s childhood in northern India—and about the Partition that forced her to leave her home and relocate to the newly created Pakistan.

As details of Dadi’s life are revealed, Dadi’s personal story feels a lot more like the breaking news that Maha loves so much. And before she knows it, she has the subject of her documentary.

Thank you to @theshelfstuff for sending me a copy of the book.

[lynnemoonsong]

IDK, maybe it's just me (and take this with a grain of salt, bc I've been playing SSO since 2017 and only recently started engaging in the fandom after lurking for years), but I do not recall the thirst for Sabine and people shipping their characters with her being anywhere near as prevalent when she still looked like this:

Were there Dark Core and Dark Rider fans before then? Absolutely.

But SSE was definitely not pushing Sabine in their marketing when she still looked like that, let alone making official posts about how hot she is to pander to her fanbase.

Furthermore, a quick search on AO3 filtering for fics written from 2012 - 2021 (excluding crossovers & only searching for complete works) prior to Sabine's character model update (in 2022) only results in 3 fanfics. Excluding crossovers and filtering for all works brings that number up to 5 works.

Which means that the 33 complete fics written featuring her [using the same "exclude crossovers" + "complete works only" parameters when searching] (5 of which are not tagged as Sabine/Reader or Sabine/Original Female Character fics) were all written from 2022 to present post-Sabine model revamp. And the majority of those are Explicit rated Sabine/Reader or Sabine/OFC fics. I'm sure that if one were to include crossovers and WIPs there would be a lot more results.

So yes, there is a significant jump in the amount of fanworks centered around Sabine after her 2022 revamp compared to the amount of fics featuring her when she still had her Starshine Legacy model.

For the record: I'm not saying fans can't be horny for her, because fandom doing fandom shit in fandom spaces is one thing.

But it's entirely another for the company itself to be pulling this and feeding into Sabine's fanbase in a way that SSE simply does not with any other character in the game. Not even Ydris. And focusing on Sabine to the exclusion of the other Dark Riders or even the Soul Riders. SSE itself will make social media posts (Twitter, Instagram, usw.) on how hot Sabine (an older teenage girl / adult woman) is, when the primary demographic for Star Stable Online is 6 - 14- year-old girls.

And from my perspective, it's solely because Sabine's character was revamped to look "hot" and ambiguously brown. Plus adult players attracted to women going "muscle mommy, step on me". (When this is not a dating sim game and SSO doesn't even have a dating mechanic. I digress.)

That being said, interesting that between the Dark Riders and the Soul Riders, SSE has revamped all but maybe one of the Dark Riders to have darker skin and more masculine-looking clothing + gender-neutral names (i.e. Sabine and Jessica/Jay's redesigns) when they are the villains. Yet the Soul Riders only have Linda (Pakistani) and maybe the player character... and all the NPC Soul Riders are still given the same clothing types as any other female character in the game. Add in that with additional lore in the comics and novels with the Dark Riders not being human but still playing into negative stereotypes in their design choices about people of color...

That is Not Great.

[booksperience]

(via The Runaways by Fatima Bhutto)

The Runaways by Fatima Bhutto is a novel mainly revolving around three young protagonists, Sunny, Monty, and Layla. It has a simple plot yet involves some complex themes and is narrated in a captivating prose. Sunny hails from a Pakistani family residing in the UK. Monty and Layla are from Karachi. They go on their own separate journeys and arrive at the Islamic terrorist camp nestled in the deserts of Iraq, each of them driven by their unique motivations and missions to accomplish. The narrative continuously switches between past and present events, which adds an element of excitement to the reading ex... (Read full text on booksperience.org)

[moonlightsapphic]

Uh guys, in case you aren't all caught up, the graphic novel that started as a little queer comic on Tumblr by ND Stevenson (creator of Shera: Princesses of Power) has been adapted by Netflix into an adorable movie about the contemporary genderqueer experience. Go watch Nimona. RIGHT NOW. (Also read the book!)

The movie also features an API gay couple. Ambrosius Goldenloin is an Asian American descendant of the revered knight, Gloreth, and he dyes his hair blonde to match hers and fit the white saviour image that the public expects from him. He is manipulated golden child of a conservative white woman trying to assert control over the kingdom. Ballister Boldheart is a darker-skinned (desi! muslim!) British Pakistani sweetheart who had to bootstrap his way to the top and still couldn't win model minority status with the head of the institute, and is framed for crimes he didn't commit and condemned by the state. The character designs are both modeled after their voice actors, Eugene Lee Yang and Riz Ahmed. Both actors have done extensive DEI work for the API LGBTQ+ community and visibility!

They are archenemies. They are lovers. They are husbands but also kind of divorced. They will find their way back to each other because they are simply victims of the same system, and they are just so soft for each other and what they want to protect. They are also Nimona's dads. They're slightly different from how they were in the book, but I'm so glad for the changes. And I'm so glad for what remained exactly the same as ND Stevenson envisioned years ago: