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the-crooked-library · 1 month ago

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The Violence of Conformity: on Queerness, Shame, and Vampirism

As we all know, and as I feel I must express again - the metaphorical layers of Nosferatu (2024) consist of several complex, frequently intersecting social themes. Some of them, admittedly, exist a story or two below the surface-level discussions; but that makes them no less influential in regards to the primary plot, and they demand the viewer's exploration just the same.

This is especially true in regards to Eggers' approach to homoeroticism. Its presence within the film itself is unsurprising - implicit, or even explicit, expressions of queerness are a hallmark of gothic (and especially vampire) media. In the case of Nosferatu, this narrative vein provides an undercurrent to almost every aspect of the story; and, because I can't stop thinking about it, I'm making it everyone else's problem.

The Hutters are queer, biting is a metaphor, details under the cut.

To begin with, I must clarify that a queer reading of Nosferatu is not an external introduction. While that lens may be applied to any narrative, given a thorough enough discussion of gender roles, sexuality, and cultural context, it has always been a natural - if sometimes unspoken - component of gothic horror. Elements of it are observable in classics like Frankenstein (Shelley), The Picture of Dorian Gray (Wilde), and even detective fiction offshoots like The Hound of Baskervilles (Doyle), etc; and within the vampire subgenre, it is practically a requirement.

That, like many other things, may be ascribed to Lord Byron and his ever-enduring cultural legacy. In the year 1819, at the Villa Diodati in Switzerland, he challenged his illustrious group of friends to each write a ghost story; and while only two achieved any sort of prominence, that much was sufficient to alter the history of the horror genre. One of these was Mary Shelley's Frankenstein; the other was The Vampyre by Dr. Polidori.* As the title suggests, it was the first Western work of fiction that featured such a monster - and, in doing so, it set the blueprint for countless others to follow. Since then, the genre has been defined by the shape of the dark, hedonistic, and dangerous Lord Ruthven, who was unmistakably modelled after Byron himself.

As a character, Ruthven is confident, dominant, manipulative - and brooding, on occasion. His interpersonal approach is defined by a sort of hypnotizing, seductive, possessive, most certainly ill-advised allure. The overall impression is devilish; and that is indeed the point. Within the thematic framework of The Vampyre, Ruthven represents temptation of all kinds. He never hesitates to indulge himself; and so, once he is bored with cards and brothels, he has no qualms about fixating his appetites on Polidori's main character, Aubrey.

Their relationship is notably homoerotic. Despite - or, perhaps, even complemented by - Polidori's amateurish style, the text demonstrates a genuine, striking sensuality between them. In 1819, this easily fell in line with the rest of Lord Ruthven's characterization; and, following The Vampyre's a rapid rise to popularity, vampirism became a shorthand for any "sinful" - or, socially forbidden - sexual expression.

Given the numerous restrictions of the time, most of which persist today to a degree, this includes not merely abusive or incestuous, but also queer, interracial, and extramarital relations - as well as anything involving kink dynamics. From Ruthven, we get Carmilla (LeFanu), Dracula (Stoker + adaptations), and even relatively recent installments like Lestat (Rice).**

The premise of Nosferatu is no exception. One of the most famous cases of copyright infringement, and a triumphant testament to the historical/preservationist value of media piracy, Murnau's 1922 silent film survives - against explicit orders of the Stoker estate; and, being the literary bastard child of Dracula himself, Orlok maintains many of the same characteristics as his predecessor.

Among these is his implicit and classically vampiric queerness. Like the rest of the film, it is amplified in 2024 - and especially prominent in the first act, in which Thomas Hutter arrives to Orlok's castle.

It is evident from his earlier characterization that Thomas is a repressive type. More so than Aubrey or Jonathan Harker, he keeps his head down, obstinately ignoring the web of fears that shape his daily existence; and it is a monster's narrative duty to expose and realize every single one.

Granted, social circumstances do play a role in this situation. Aubrey has wealth and status; Jonathan Harker has friends and a stable, loving marriage; and Thomas Hutter has neither of those things. Without the benefit of money or community, he lives within a world that is almost as restrictive as Ellen's. His personality is defined by his similarly desperate desire for respect; and his behaviour throughout the film is informed by that underlying pattern. It manifests, most prominently, as a near-compulsive, yet formulaic, adherence to social expectations. He chases after a promotion, marries, gives his wife flowers she didn't want - and, in the same breath, dismisses her "childish fantasies", not out of any malicious intent, but simply because it is supposed to be his duty as a man and husband. It is a destructive cycle of indignity and overcompensation - and I believe it is essential to acknowledge that it's motivated, in great part, by his financial insecurity. As a self-described "pauper," Thomas is anxious to prove himself to his ruthless, unforgiving society - because if he does not, he runs a very real risk of losing even the few comforts he has managed to scrape together.

This threat of destitution is an act of violence. Implicitly, constantly, in consequence of daring to exist, Thomas is being held hostage - unless he conforms.

His sojourn at Orlok's castle is, therefore, peppered with evidence of his superstitions, his social class, and his weakness. Orlok - whom he eventually finds slumbering in the dungeon, the symbolic core of the building itself - is its culmination. What Thomas sees after opening the casket is a nude man, always and never dead, who is trying to take away his wife and imprison him, like a damsel, in a castle. He is horrified; and the implication is blatant. In context with everything else, the deeply sensual, lingering brutality of Orlok's attack is symbolic of the one last thing that Thomas is repressing - and has been for so long that facing it is unthinkable. Still, he can do nothing to resist Orlok - who pushes him to annul his heterosexual marriage, subdues him, bites him; and drinks from him, night after night.

Even during daylight, Thomas fails to destroy his tormentor. In the story sense, he cannot do it because Orlok is a vampire; on the symbolic level, we understand that he cannot kill his own nature.

It goes without saying that this experience is violent; it is both grotesque and shockingly, blatantly lewd. It is traumatic. It is euphoric. It is a form of sexual assault, as far as the biting - a naturally penetrative act - is concerned; and, crucially, it is also Thomas' own repressed desire forcing him to know it. His fear and self-disgust are made flesh in Orlok. Unwanted Desire versus Unwanted Advances; it is a classic gothic paradox - and, in the end, he is unable to accept it. He flees, back to Ellen and the familiar comfort of repression.

Curiously, Ellen herself - who is also distinctly queercoded - presents a depiction of an alternate path.

Like Thomas, she begins the film rigidly repressed and doing her utmost to conform to the established heterosexual social standards. The most prominent factors behind Ellen's oppression are ableism and misogyny - both rooted in things she cannot possibly hide. Her seizures are extremely noticeable to say the least, her neurodivergence affects every conversation she has with the people around her, and all of them perceive her as a woman first and a person never. As the film goes on, it becomes increasingly clear that this emulation of a happy marriage requires constant and agonizing effort to sustain; but while she is also blatantly queercoded, and this queerness definitely contributes to the way she is treated (e.g. by Harding, who views her as a threat to his own marriage), her struggle in maintaining her union with Thomas is not necessarily rooted in a lack of sexual attraction.

The issue is, rather, its "inappropriate" manifestation. Ellen is sexually dominant. Her desires are carnal (and, as the original script implies, mildly sadistic). In a society that expects women to be both innocent and submissive, limits their financial opportunities, and threatens the nonconforming with institutionalization or abandonment, she is caged.

Unlike Thomas, she is aware of that and resents it accordingly - which is not to say that she doesn't feel overwhelming guilt in regards to her sexual inclinations. She absolutely does; and it is interesting to note here that her own pain, in this case, manifests as attacks on her husband and Anna.

This is the part of the story that actively deals with Ellen's queerness. It is evident that she has lived her entire life with the idea that such feelings themselves are sinful; her desires are already unacceptable, even within the sanctity of a heterosexual marriage - thus, actively pursuing another woman would be monstrous. In this interaction, however subtle or unspoken (and, on Anna's part, likely unrecognized), Ellen perceives herself as an aggressor. This is the reason her friend is attacked directly after they share a private, tender moment together - true to the classic gothic vampire tradition, Orlok is, consistently, the direct manifestation of Ellen's shame. He drinks from Anna's breast (the characteristic bite notably favoured by Carmilla - the original lesbian vampire); he destroys the Hardings' perfect nuclear family; and Friedrich Harding blames Ellen and her "fairy ways." Symbolically, their suffering is her punishment - both for feeling a brief moment of queer affection (guilt, fear - direct, setting-driven), and for refusing to indulge it (self-acceptance, rebellion - metaphorical, represented by Orlok).

Still, despite her fear and guilt, Ellen knows that she has done nothing wrong by following her "nature." Her queerness is inherent to her - much like her disability, or her psychic gift; and it is no accident that, among the human characters, the latter is only truly identified by the remarkably eccentric, disgraced, flamboyant, cat-loving, unmarried, bohemian Von Franz. Even though he might be better-adjusted to their surrounding society than her, he still decidedly exists on its outskirts. There is a familiarity of recognition between them, as well as the particular dynamic of a fresh and uncertain fear vs a resigned bitterness that alludes to an interaction between two different queer generations. Even as he is unable to promise her a happy ending, he confirms that she was meant for greater things than the world around them would allow; and that, in my opinion, marks a turning point.

Prior to her conversation with Von Franz, the only validation Ellen has ever received was from Orlok - which posed a moral complication. He was and is a monster, and as such, she believed him to be, fundamentally, a "deceiver." Because of this, she could not bring herself to entirely accept what he was saying; but, conveniently, Von Franz provides an alternate opinion. He stresses that her gift is not only powerful, natural, and inevitable, but also inherently beautiful and sacred.

This is a drastic shift from the way Ellen is normally perceived by humanity. The story consistently demonstrates that the other characters dismiss, infantilize, or condemn her out of turn; however, in this new philosophical context, her night of passion with Orlok - or, the city's only hope for salvation - becomes a supremely important, adult, and holy act. In a spiritual sense, it is equivalent to a marriage; and the film frames it as such.

Like a father, Von Franz gives her away. Despite his well-established monstrosity, Orlok is tender with her to the point of reverence; and she pulls him close - as unnecessary or selfish as that may be. It is, after all, a metaphor. By embracing the Vampire, Ellen embraces the physical representation of everything she had once considered ugly in herself. In regards to her queerness (as well as her psychic power/neurodivergence/disability/personhood), it is a triumphant moment of self-acceptance.

Ellen's arc therefore ends in sublimation. Meanwhile, Thomas is left behind; over the course of the film, he has been unable to let go of the structures that have directed his thinking and behaviour throughout his life - and yet, at the same time, he has also seen them fail, over and over. Knock betrays him, Sievers is out of his depth; Thomas himself cannot be a hero, and Harding - his glittering ideal - crumbles, consumed by grief and madness. The finale, therefore, leaves him on a precipice.

It is a classic moment of deliberation - epitomized, perhaps, by The Matrix (Wachowski Sisters, 1999), in its iconic "red pill/blue pill" scene. As much as the interpretation of it has been twisted over the years, the fundamental, intentional meaning of it is inherently queer; it is about weighing the danger and value of awareness against the meaningless bliss of ignorance. These narrative points are most frequently framed as a beginning - but for Thomas, that is how the movie ends.

He could return to the prison of his daily existence, repress everything he truly feels once more, and suffocate himself in a stranger's life. Before him, Ellen and Orlok depart into a "sea of fog" - an unknown, terrifying, beautiful alternative. It is a promise of freedom and a guarantee of struggle. He sees an example of what he could become, in them and in Von Franz. Their society - and ours, to a degree - is unforgiving of deviation, yes, but the story has also forced him to recognize that acquiescence is not the only option; nor is it actually enough to protect him or his loved ones. Within an oppressive society, safety is always subject to an implicit transaction; and as the finale of Nosferatu makes painfully clear - Orlok may have been in covenant with the Devil, but Harding is the one who sold his soul. The question, now, is whether or not Thomas can bring himself to ignore that.

I know what I would personally wish for him - a full and vibrant life, somewhere on the edges of polite society, that allows him to delve into the eccentricities he never knew he had. He could get into the occult himself; maybe even meet a dashing vampire hunter who would sweep him off his feet and shock his lingering sensibilities every morning (and if the man's a cowboy, even better). However, the point is that we do not know what he will do or what will happen. A life is always in flux. Regardless of our circumstances, there are still a few things we get to choose for ourselves, and a precipice is also sometimes an opportunity for a leap of faith.

I hope, most affectionately, that Thomas Hutter jumps off a cliff.

*POLIDORI - Dr. John William Polidori, who may indeed be considered the creator of the modern vampire genre, graduated from Ampleforth College in 1815 with a thesis on sleepwalking. It's not exactly relevant; but, in the context of Nosferatu, rather apt. I would've really liked to see his thoughts on it, seeing as it's such a perfect intersection.

**LESTAT - being blond, Lestat does stand out from the primary archetype in the visual sense; but the current discussion is more in the realm of personality.

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mayasynth · 1 year ago

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My beautiful unhinged daughter, Mary Elizabeth Frankenstein <3 I know this was not at all how the scene actually went, but humour me

(Pssssst everyone please read Our Hideous Progeny, pleaseee 🙏)

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queereads-bracket · 1 month ago

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Queer Fiction Free-for-All Book Bracket Tournament: Preliminary Round

Book summaries and submitted endorsements below:

Dionysus in Wisconsin by E.H. Lupton (Wisconsin Gothic #1)

Endorsement from submitter: "Gay urban fantasy in Madison, WI"

A graduate student and an archivist work together to fight a god.

Fall, 1969. Ulysses Lenkov should be working on his dissertation. Instead, he's developing an unlucrative sideline in helping ghosts and hapless magic users. But when his clients start leaving town suddenly—or turning up dead—he starts to worry there's something afoot that’s worse than an unavenged death or incipient insanity. His investigation begins with the last word on everyone's lips before they vanish: the mysterious Dionysus.

Sam Sterling is an archivist who recently moved back to Madison to be closer to the family he's not too sure he likes. But his peaceful days of teaching library students, creating finding aids, and community theater come to an end when the magnetic, mistrustful Ulysses turns up with a warning. There's a god coming, and it looks like it's coming for Sam.

Soon the two are helping each other through demon attacks, discovering the unsavory history of Sam's family, and falling in love as they race to find a solution. But as the year draws to a close, they'll face a deadly showdown as they try to save Sam—and the city itself.

Fantasy, urban fantasy, mythology, romance, academia, historical fiction, alternate history, 1960s, adult

Leagues and Legends series (Beanstalk: The Adventures of a Jack of All Tales, Echoes of a Giantkiller, Remember the Dust) by E. Jade Lomax

Jack Farris doesn’t want to save the world, just every person he knows, encounters, or hears of.

It’s a bit of an issue.

S. Grey doesn’t want to save anyone but himself. He wants to know everything and majoring in sagework at the Academy is the best way to do that.

Laney Jones left her home to avoid the constraints there, only to find different barriers holding her back at the Academy. Eager to learn, to excel, to escape, she has far from given up.

Rupert Willington Jons Hammerfeld the Seventh would just like everything to be orderly, thank you very much, but it seems the only way to make monsters and myths (and malicious but mundane men) to stop rampaging through his world is to go out and do some hero-ing himself.

They are put together as an unwilling study group, but they become something more.

Fantasy, epic fantasy, adventure, secondary world, series, young adult

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thenightpost · 9 months ago

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Messages from the Skelter

made with the safety sign generator

#the night post #audio drama #fiction podcast #audio fiction #supernatural #queer horror #southern gothic #weird fiction #cw unreality

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papenathys · 7 months ago

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Hey Mimi do you have any recommendations for books set in Latin America (any genre) ?

So I am going to assume that you are not asking for picks like Gabriel Garcia Marquez or Isabel Allende. Most of the Latinx authors I read are unfortunately fantasy or genre fiction set in the USA (I'm trying to remember if Tehlor Kay Mejia or Anna-Marie McLemore wrote a book that is explicitly set in a Latin American country.)

Here are a couple of books I enjoyed, or at least feel confident recommending based on what I remember:

Certain Dark Things by Silvia Moreno-Garcia (adult, urban fantasy, horror): Described by the author as a "violent neo-noir", this story is set in an alternate, gritty Mexico City, and follows a Tlāhuihpochtli vampire who strikes a bond with an impoverished street kid, while fleeing from narco-vampire clans, criminal gangs, and other dangers lurking in the dark underbelly of the city.

Gods of Jade and Shadow by Silvia Moreno-Garcia (adult, historical fiction, fantasy): In 1920s Mexico, a young woman accidentally frees the spirit of the Mayan God of Death, and embarks on a cross-country mission with him: from the dazzling Jazz Age opulence of Mexico City, into the darkness of the Mayan underworld– where she must face great dangers to reinstate the God on his rightful throne.

Mexican Gothic by Silvia Moreno-Garcia** (adult, historical fiction, horror): A glamorous, fun-loving socialite in 1950s Mexico receives a disturbing letter from her married cousin, prompting her to travel down to their ancestral mansion, where the in-laws' live. There, on that ancient, colonial estate, she begins to be haunted by an equally ancient evil, and soon realises something is terribly wrong about the family her cousin has married into.

Tender is The Flesh by Agustina Bazterrica** (adult, dystopia, horror): In a near-dystopian future, an infectious virus turns all animal meat poisonous and unfit for consumption, forcing governments to legalize the factory-farming, breeding and eating of human meat. At one such processing plant, a worker is faced with a moral dilemma when he is gifted a "live" specimen.

Elena Knows by Claudia Piñeiro (adult, psychological thriller): Set in Argentina, this is a claustrophobic, uneasy novella about a mother's journey to uncover the truth behind the hushed-up murder of her dead daughter; the investigative mission, however, is made difficult by her advanced locomotive disability and age, as well as by this slowly unfurling realization: that she may not have known her daughter as truly as she thought.

And a couple I have not read/read and did not enjoy at all, but would recommend because my opinion seems to be in the minority:

Jawbone by Mónica Ojeda** (adult, horror, thriller, LGBTQ): A group of wealthy teenage girls attending an elite academy in Ecuador begin to convene regularly in an abandoned building, after school hours– but what started out as a place to exchange ghost stories, soon devolves into a site of dangerous thrill-seeking and dark, bloody rituals. (Note: I absolutely despised it, but you may enjoy; it's sapphic dark academia with cosmic horror and yellowjackets vibes).

Our Share of Night by Mariana Enríquez (adult, horror, historical fiction, fantasy): Set partially during the years of Argentina's brutal military dictatorship, this novel follows a father and son on a road trip, trying to escape a death cult, who have committed unspeakable atrocities. I have not read this gigantic tome, but I really want to, I am a sucker for horror rooted in political/historical allegories.

Cantoras by Carolina De Robertis (adult, historical fiction, LGBTQ): In 1977 Uruguay, a time when oppressive militia rule criminalized homosexuality as a dangerous transgression, five queer women discover an uninhabited cape, and claim the coastal sanctuary for themselves. Over years, it becomes their one safe haven, to be their true selves. Not read this, but it sounds strikingly similar to Last Summer at Bluefish Cove, one of my favourite queer stories of all time.

[ Note: All the stories are adult and given my inclination towards horror and psychological fiction, they are likely to be dealing with sensitive issues, but for the stories marked ** I very highly recommend checking trigger warnings ]

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borninwinter81 · 1 year ago

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Queer horror from my teens

I periodically wonder whether these books are still known and read by young goths and horror fans as they were all extremely important to me in my teenage years, so I thought I'd share them.

Though I'm cishet, during the mid 90s two of my favourite authors wrote primarily queer fiction: they were Anne Rice and another author from New Orleans who is now known as Billy Martin.

He came out as a trans man in 2011, however these books were published prior to that so unfortunately you have to search for them under his deadname. This is why I've used that name in the tags on this post. I don't believe the books were ever reprinted with his current name.

Though I loved Rice, I always felt a more immediate connection with Martin due to his vivid portrayal of subcultures like goth and punk, and how it felt to be a teenager who was part of them. I could see myself in many of his characters as I had the same interests, listened to the same music, and shared the same sense of social alienation. Remember in the 90s the Internet was still a reasonably new thing, and many of us didn't have a home Internet connection at all. There was certainly no social media, no YouTube, and no real way to meet and interact with like-minded teens unless you were lucky enough to have another "weird kid" at your school. If you were a weird kid, you likely had very few friends and were bullied.

That as much as anything else led me to seek solace in books written by an author who I felt understood me, and characters who became my friends.

Lost Souls is about vampires in a kind of Lost Boys/Near Dark way. Fans of the YouTuber OfHerbsAndAltars might be interested to know that this book is where the name of his channel comes from - it's a description of the taste of Chartreuse liqueur.

Drawing Blood is about ghosts, a "murder house", computer hacking, comic art and a very beautiful (if rather messed up) romance. This one is probably my favourite of the three.

Exquisite Corpse is about serial killers, set against the AIDS crisis of the 90s. If you like the Hannibal TV series you'll probably enjoy this one - imagine if Dennis Nilsen and Jeffrey Dahmer had somehow met.

Martin doesn't pull any punches when it comes to descriptions of blood and gore, violence, abusive parents or his portrayal of toxic romantic relationships (of which there are many in his books), but if you can deal with those things there is also a great deal of beauty, phenomenally good writing, and a somewhat unique perspective on the supernatural.

Maybe I'm biased, looking at these through the lens of my teenage self. Maybe they'd seem horribly dated to today's young audience. But I still wanted to make this post in case there's someone out there who will end up loving them as much as I did.

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velvettapeworm · 1 year ago

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Some of you are familiar with my work already through itch.io or this blog, but I want to say that my book, So Sang the Riverman—a story which tells of the primordial world's destruction after the spirit of life, Fervor, makes off with the heart in Decay's grave—is now available at Barnes and Noble and Amazon. If you have a soft spot for mythological tales, lyrical prose and/or obsessive lovesick martyrdom, have yourself a look. And if you do decide to buy a copy, thank you from the bottom of my heart for supporting my work!

#gothic fiction #so sang the riverman #vt writing #gothic literature #gay fiction #gay literature #queer fiction #queer romance #lgbtq books #queer literature #gay romance #lgbt literature #lgbt lit #indie fiction

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marsadler · 1 month ago

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INTRO

Hello!

I thought I'd do a bit of a more formal intro as I try to move over to engaging more on Tumblr now that other social media platforms are becoming steadily more unusable.

I'm mars or Kaye, I write lots of weird sensual horror and cross-blended speculative fiction with horror, all with trans and queer characters. I first self-published a short story on itchio in March of 2023 after years of wishing I could leave ghostwriting to publish my own work. (I still haven't fully escaped that occupation, but we're getting there.)

I'm a big, huge fan of publishing on itchio, although I'm also published on Amazon as a necessary evil, boo hiss, tomato tomato, etc.

PUBLISHED WORK

2023

FIRST CREATION: my debut novella, 22k words/98 pages, religious horror featuring an angel and a demon on opposite sides of a never-ending war escaping together, and a whole lot of cannibalism and fruit metaphors. It was a finalist in the 2023 Indie Ink Awards. Transmasc protagonist, M/M pairing.

Blood & Flowers (currently undergoing a re-release process that's adding roughly 11k words and a new cover, so it's not available for sale right now): won the Queer Indie Award of 'Best Sophomore Novel' in 2023, enemies to lovers, vague Romeo and Juliet retelling, vampires and haunted houses. I'm so excited to share the re-release of this early this year! Transmasc protagonist, M/M pairing.

EYETOOTH: another novella (I really love writing novellas), 18k words/90 pages, t4t eroguro medkink fever dream. A trans art student undergoes an experimental surgery at an underground plasma donation center, but afterwards, the doctor disappears and leaves him to deal with the aftereffects and strange cannibalistic urges. Transmas protagonist, nonbinary love interest, M/NB pairing.

2024

Dead Cowpokes Don't Wrangle: Probably the coolest thing I did last year was curate this anthology with a good friend and fellow author, H.S. Wolfe. A queer collection of weird west stories and gorgeous artwork from 18 creators, this is an absolute banger, if I do say so myself. My story in there, Red as Blood, Black as Tar, deals with people coming back from the dead, gunslinging outlaws, and a lot of weird, gross tar. F/NB pairing, ~10k words.

UNHOLY FAVORS: 22k words/90 pages, a short story duet about making deals with supernatural entities that go wrong. Featuring trans protagonists, monsterfucking, weird dreamscapes and hellhounds, this is an odd little itchio-exclusive collection. M/M pairings for both, each story is around 10k words.

The Apples of New Eden: 57k words/251 pages, my first full-length novel. Sci-fi horror, taboo romance. Two brothers struggle to reunite for Christmas in a dystopian war-filled future. Featuring cybernetics, wire play, heavy handed anti-establishment themes, and some really weird dogs. Itchio exclusive, transmasc protagonist and M/M pairing.

WIPs For This Year

Sequels: one of my main goals this year is to actually publish a sequel to one of my three started series. (First Creation, Blood & Flowers, and Eyetooth are all the first books in series.)

Sweet Lamb: novel length, religious horror. I tried to release Sweet Lamb early in 2024 but it just wasn't ready. I'm glad I waited, because I'm a lot clearer now on what I want to do with it. It's a very personal book to me, and I want to make it the best it can be. Polyam trans rep, new age cults, weird fucky angels.

Clipped Wings WIP: novel length, religious horror, anti-establishment themes as well as a toxic age gap pairing. What happens when you take an angel's wings away?

Several Novella and novelette length wips: I won't list them all out because I've started SEVERAL, and I'm not sure which I'll get done first, but I'm hoping to get at least a couple of them out this year.

Other work: I'm very excited to be a part of several other cool collaborative projects I can't talk about yet, but there's several things in the works right now, so keep an eye out!

Alright, that's it for now, thank you for reading this, and I'm so excited to meet new people on this platform and get weird about queer horror with y'all! You can always DM me or ask me any questions, I'm chronically online.

All my books have CWs in their front matter for those looking, and on itchio in the listing. They're also available on my website, which is marsadler.carrd.co

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