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visenyaism · 4 months

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Sorry if you’ve been asked this but what do you think of all the rot in asoiaf? Obv some of it is related to the problems with monarchy but I feel like a lot of it isn’t and it just leaves me curious. Like cold hands or people killed by the others idk what that symbolizes there. Jon is in a land in which rot is in stasis from the cold and it’s creepy as shit. And then there’s stuff that could have multiple interpretations like dany by proxy of selmy experiencing bio warfare with the corpses like I know some people see it as the fall of old ghis but I wondered if maybe it was a sign to dany about breaking the wheel and doing as her ancestors did. Idk I know it’s a nasty series and sometimes grrm is just doing stuff so that it’s gross but I feel like rot comes up SO much and I people are usually talking online about like Tywin when it comes to rot.

Oh one of my favorite things about the asoiaf series is how heavy-handed george rr martin is with the rot symbolism. and (at the risk of sounding like an mfa vomited on my keyboard) the way that the political, pestilential, societal, and climatological aspects of the rot symbolism all interconnect.

In a society founded on so many feudal evils that has perpetuated for centuries, something has to give. It is a recurring theme in these books that violations of human decency under feudalism cause cataclysmic societal collapse represented through literal and metaphorical pestilence.

There’s the sociopolitical collapse in the riverlands caused by war of human decency and norms like guest right and prohibitions on kinslaying or cannibalism just dedicating away as times get hard. broken men. bodies left to rot in the sun for the crows to feast on. There’s the fermenting wildfire under every major street in Kings Landing. There’s the familial/relational decay of incest especially the targaryens and the lannisters. The people who hold power and that society rot, despite everyone’s best efforts at keeping up appearances: Robert Baratheon the “war hero” dies of a very nasty festering stomach wound he got in a drunken hunting accident, Tywin gets shot on the privy and his corpse putefies in the sept.

The climate stuff is also very salient. The series starts during late summer and as things get worse and worse in the world declines into the autumn where the summer fruit and all of the abundance is literally rotting through the hands of the characters. (see: renly’s peach vs doran’s blood oranges!) The cold up at the wall keeps the rot at bay for a while, but it does not entirely stop it. Coldhands’ hands are still blackening. Things are still unraveling at the hinges of the world. that’s pretty representative of the way that the violence of the border wall and the penal colony stationed there to patrol it are not sustainable. The decline of the night’s watch from a once proud order to a penal colony full of cruel and often impoverished convicts dropped off there by circumstance is a symptom of the society that sends people up there. But something still has to give. The wall will fall down and the existential crisis will come, it’s just slowed.

Critically, there is also the forgotten parable of Old Valyria: a society founded on extreme cruelty and slavery which eventually experiences cataclysm coming up from the very tunnels they send the enslaved into to die for the empire. A lot of what Daenerys experiences in Essos is an extension of that commentary on slave societies to me. Like. as the slavers try and reconquer places dany has liberated, people fleeing the violence, bring disease like the bloody flux with them. The rot creeps back. (important: disease and rot in the series is not always something people get for being morally bad. it often happens to people who just have no choice but to live in these places.)

But that’s why I think the way Volantis is described really ties a lot of those elements of the rot symbolism together. This is a society that has founded itself up from out of the corpse of old valyria. The city maintains some veneer of old glory, but the fountains are dry and the paint is chipping. The people there eat food that is so sweet it literally causes your teeth to rot out if you were to consume it every day. In terms of climate, I think it’s relevant that it is described as extremely, almost disgustingly, humid, and everything is excessively perfumed to cover up a tangible smell of decay.The air is quite literally cloying and difficult to breathe. You feel dirty after walking through it. The evil of slavery is rotting the city to its core in the same way that the evil of feudalism and the wars for the iron throne is affecting the city of king’s landing.

To wrap allllll this up. Rot is a signal that obviously societal collapse is coming, but it’s also transitional: the empire of old ghis brought about its downfall, and then valyria found itself on the same principles which brought about its own downfall, and then the Targaryen went to westeros and engineered their collapse in Kings Landing while the freehold did the same essos. I think the climatological and disease aspects of it are really heavy-handed symbolism that something has to give in the societies and we’re at the point in the series where that’s about to happen.

I think the ultimate arc of the series ends in some form of significant societal collapse, but instead of building upon a rotten foundation again people are going to have try and hope for something new and gather the courage to build that.,quite literally dreaming of the spring.

#asoiaf #valyrianscrolls #okay this is LONG. sorry #idk if you were around summer 2022 when my mired in grief and newly in grad school ass was posting abt this but this used to by my shit #yes the yuckydisgusting symbolism is load-bearing. we gotta stop letting disgust win

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duxbelisarius · 10 months

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The Dragon has Three Heads or, How I Learned to Stop Worrying and Believe That Young Griff is the Real Deal

Before going any further, I want to warn anyone reading this analysis that it will contain spoilers for A Dance With Dragons, so proceed at your own risk.

This essay came about from an 'epiphany' I had while reading ADWD on break at work, specifically chapter Daenerys VII. In this chapter, Quentyn Martell and his companions present themselves to Daenerys and offer her a marriage alliance with Dorne. This being the day of her wedding to Hizdahr zo Loraq, Dany refuses and makes note mentally of Quaithe's earlier warning about not trusting "the Sun's Son." The identification seems simple enough, with House Martell's sigil featuring the sun and Quentyn being the son of Doran Martell, Prince of Dorne, but there are serious problems with this conclusion.

The issue with labeling Quentyn Martell the Sun's Son stems from how Dany reaches this conclusion; for starters, this is the original quote given by Quaithe in Daenerys II:

"No. Hear me, Daenerys Targaryen. The glass candles are burning. Soon comes the pale mare, and after her the others. Kraken and dark flame, lion and griffin, the sun's son and the mummer's dragon. Trust none of them. Remember the Undying. Beware the perfumed seneschal."

And this is how Dany identifies Quentyn as the Sun's Son in Daenerys VII and VIII:

Something tickled at her memory. "Ser Barristan, what are the arms of House Martell?"

"A sun in splendor, transfixed by a spear."

The sun's son. A shiver went through her. "Shadows and whispers." What else had Quaithe said? The pale mare and the sun's son. There was a lion in it too, and a dragon. Or am I the dragon? "Beware the perfumed seneschal." That she remembered. "Dreams and prophecies. Why must they always be in riddles? I hate this. Oh, leave me, ser. Tomorrow is my wedding day."

...

The pale mare. Daenerys sighed. Quaithe warned me of the pale mare's coming. She told me of the Dornish prince as well, the sun's son. She told me much and more, but all in riddles.

George has talked about the fickle nature of prophecy in the books and publicly, citing the Duke of Somerset's death at the Battle of St. Albans in Shakespeare's Henry VI as an example of why the literal or easiest interpretations are not always the most reliable. While Dany's conclusion that Quentyn is the 'Sun's Son' seems straightforward, she bases it solely on Barristan's description of the Martell arms. Her reasoning is mainly to justify marrying Hizdahr by dismissing the Martell offer, as Dany herself barely remembers Quaithe's warning and bemoans her 'riddles'.

Assuming that the 'Pale Mare' refers to the 'bloody flux' that the Astapori refugees bring to Meereen, and that the Kraken, dark flame, lion, griffon and mummer's dragon refer to Victarion Greyjoy, Moqorro, Tyrion, Connington and Young Griff respectively, the sequence of Quaithe's warning makes no sense with Quentyn as the 'Sun's Son.' At the end of ADWD, Tyrion is outside the walls of Meereen while Victarion and Moqorro are en route with the Iron Fleet, and Connington and Young Griff are in Westeros. If Dany's return to Meereen from the Dothraki Sea is followed by her journeying westwards, then this sequence makes sense. Victarion will likely destroy the Slaver's fleets and is seeking Dany's hand in marriage, while Moqorro is with him for the purpose of acknowledging her as Azor Ahai and encouraging her to free the slaves of Volantis. Given Tyrion's association with Varys, Illyrio, Jorah and now 'Brown Ben Plumm,' and his family's role in Robert's rebellion, it makes sense that he would not immediately seek out Daenerys on her return to Meereen. Connington and Young Griff await her in Westeros, but Quentyn as the 'Sun's Son' precedes all of them, breaking Quaithe's otherwise sensible sequence. If Quentyn were the 'Sun's Son' he could just as easily have been paired with the Kraken, since both are sent by the heads of their houses to offer her an alliance, while Tyrion and Moqorro travel together on the Selaesori Qhoran (the 'Perfumed Seneschal') and Connington and Griff are in league with Varys.

The far greater issue with Dany's interpretation is that we have access to Quentyn's POV, and there is nothing to suggest that he seeks to betray Daenerys. His purpose was to approach Dany with a marriage alliance, to assist her in reclaiming her crown; his party was even sent by Tatters to scope out the situation in Meereen for a possible double-crossing of the Yunkai'i, specifically to aid Dany. The only thing close to untoward that he does is attempt to claim one of her Dragons, and this was a desperation move driven by his insecurities and his fear of returning to his father empty handed, which would mean that his fallen companions died for nothing:

"What name do you think they will give me, should I return to Dorne without Daenerys?" Prince Quentyn asked. "Quentyn the Cautious? Quentyn the Craven? Quentyn the Quail?" (The Discarded Knight, ADWD)

Volantis, Quentyn thought. Then Lys, then home. Back the way I came, empty-handed. Three brave men dead, for what?

...

His father would speak no word of rebuke, Quentyn knew, but the disappointment would be there in his eyes. His sister would be scornful, the Sand Snakes would mock him with smiles sharp as swords, and Lord Yronwood, his second father, who had sent his own son along to keep him safe … (The Spurned Suitor, ADWD)

Disqualifying Quentyn as the Sun's Son leaves us with only three options, of which only one really works. Trystane is the only other son of House Martell aside from Quentyn via Prince Doran, and given his limited roll in the story thus far I think it's safe to cross him off the list. Doran could theoretically work as the 'Sun's son,' as his mother was Princess of Dorne before him; given that Quaithe describes the figures as going to Dany, Doran's limited mobility and poor health would disqualify him. This leaves us with only one 'son of a sun,' that being 'Young Griff,' aka Aegon VI Targaryen, the son of Rhaegar Targaryen and Elia Martell, Princess of Dorne.

This association of Aegon with the Martells via his mother fits with the copious amounts of imagery linking him to the Rhoynar and to 'Egg' aka Aegon V of "Dunk and Egg" fame, specifically that character's travels in Dorne. Tyrion finds him living on a pole boat in the Rhoyne River, home of the ancient Rhoynar culture that Dorne descends from. The Shy Maid is operated by Yandry and Ysilla, so-called 'orphans of the Greenblood' which are another allusion to Dunk and Egg's travels on the Greenblood River in Dorne:

A poleboat had taken them down the Greenblood to the Planky Town, where they took passage for Oldtown on the galleas White Lady.

...

When they’d been poling down the Greenblood, the orphan girls had made a game of rubbing Egg’s shaven head for luck. (The Sworn Sword)

In Tyrion IV of ADWD, a massive horned turtle appears in the river by the Shy Maid, an obvious reference to the Rhoynish 'Old Man of the River,':

It was another turtle, a horned turtle of enormous size, its dark green shell mottled with brown and overgrown with water moss and crusty black river molluscs. It raised its head and bellowed, a deep-throated thrumming roar louder than any warhorn that Tyrion had ever heard. “We are blessed,” Ysilla was crying loudly, as tears streamed down her face. “We are blessed, we are blessed.”

Duck was hooting, and Young Griff too. Haldon came out on deck to learn the cause of the commotion . . . but too late. The giant turtle had vanished below the water once again. “What was the cause of all that noise?” the Halfmaester asked.

“A turtle,” said Tyrion. “A turtle bigger than this boat.”

“It was him,” cried Yandry. “The Old Man of the River.”

And why not? Tyrion grinned. Gods and wonders always appear, to attend the birth of kings.

When Tyrion and Haldon visit the Painted Turtle inn to find information about Daenerys' whereabouts, we have an interesting description of the inn from Tyrion:

The ridged shell of some immense turtle hung above its door, painted in garish colors. Inside a hundred dim red candles burned like distant stars. (Tyrion VI, ADWD)

We once more have Rhoynish symbolism in the turtle, while the 'garish colors' are reminiscent of Young Griff's hair, which is dyed blue in the Tyroshi fashion. Tyrion's description of inside the 'Painted Turtle' is one of dim red candles burning like stars, which can be seen as an oblique reference to the red rubies on Rhaegar's black breastplate, thereby associating the red of Targaryen heraldry with the cultural symbols of the Rhoynar.

The 'Dunk and Egg' imagery goes further, with both Egg and Aegon wearing distinctive straw sun hats, and being accompanied by their Hedge Knights from the Stormlands, both of whom have titles derived from their own simplistic personalities (Duncan the Tall, Rolly Duckfield). Moreover, Egg's journeying to Dorne ends up giving him refuge from the Spring Sickness that ravages Westeros, while Aegon's time in Essos serves as a refuge from Robert's spies and the chaos of the War of the Five Kings. While these similarities might be viewed as a doomed attempt by Varys to recreate Egg through Aegon, I think the purpose of these parallels is to establish both princes as following similar trajectories: both are sons of a Targaryen prince (Maekar, Rhaegar) and a Dornish noblewoman (Dyana Dayne, Elia Martell); become King of the Seven Kingdoms through unexpected circumstances: and if George plans to end ADOS with a mini-Dance of the Dragons, I would expect Aegon VI to meet a fiery end like Egg did.

If Young Griff is actually Aegon VI Targaryen as well as the 'Sun's Son,' this leaves the 'mummer's dragon' without any clear identity. Part of this is due to the conviction that Dany's identification of the cloth dragon from the undying visions with a 'mummer's dragon' or puppet dragon must be correct. In truth, there are countless cases from ADWD alone that show us that a mummer's object is not necessarily a puppet, but more broadly means something which is not as it appears:

I know one stands before me now, weeping mummer's tears. The realization made her sad. (Daenerys III, ADWD)

"Not here," warned Gerris, with a mummer's empty smile. "We'll speak of this tonight, when we make camp." (The Windblown, ADWD)

"My lord, I bear you no ill will. The rancor I showed you in the Merman's Court was a mummer's farce put on to please our friends of Frey."

...

I drink with Jared, jape with Symond, promise Rhaegar the hand of my own beloved granddaughter … but never think that means I have forgotten. The north remembers, Lord Davos. The north remembers, and the mummer's farce is almost done. My son is home." (Davos IV, ADWD)

His reign as prince of Winterfell had been a brief one. He had played his part in the mummer's show, giving the feigned Arya to be wed, and now he was of no further use to Roose Bolton. (The Turncloak, ADWD)

Fat Wyman Manderly, Whoresbane Umber, the men of House Hornwood and House Tallhart, the Lockes and Flints and Ryswells, all of them were northmen, sworn to House Stark for generations beyond count. It was the girl who held them here, Lord Eddard's blood, but the girl was just a mummer's ploy, a lamb in a direwolf's skin. So why not send the northmen forth to battle Stannis before the farce unraveled? (A Ghost in Winterfell, ADWD)

Mummer's tears and smiles are obviously false emotions, being affectations put on to hide what someone truly feels. Wyman Manderly is engaged in a mummer's farce wherein he pretends to be loyal to King Tommen and Roose Bolton, but in truth is scheming to restore the Starks to Winterfell and assist Stannis against the Boltons. Roose Bolton, Petyr Baelish and the Crown have in turn engaged in their own mummer's farce by sending Jeyne Poole north to wed Ramsay Snow in the guise of Arya Stark, "a lamb in direwolf's skin." If the 'mummer's dragon' is in fact a dragon that has been made to appear as something else, then Jon Snow more than fits this bill. By birth he should be a Targaryen, having been fathered by Rhaegar Targaryen upon Lyanna Stark; instead, his fortuitous Stark features inherited from his mother, and Ned's claiming Jon as his bastard and raising him amongst his children at Winterfell, has allowed Jon to hide in plain sight from those who would kill him for being Rhaegar's son.

The significance of Dany, Jon and Aegon being the three heads of the dragon is due to their mirroring a less conspicuous triad in George's World: elemental magic and it's connections to the Long Night. We are aware of three forms of elemental magic in the story, being pyromancy, cryomancy and hydromancy. Pyromancy is the most obvious, being the control and use of fire as we see with followers of Rhllor, and also tied to dragons. Cryomancy or ice magic appears in the powers of the Others and in the Wall separating the Seven Kingdoms from the lands beyond. Finally we have hydromancy or water magic, which was used by the Rhoynar against the Valyrian Freedhold and by Nymeria's Rhoynar settlers to support their communities within the deserts of Dorne. Company of the Cat has an excellent video discussing these three 'schools' of magic, but to summarize what she's said: Blue, Red and Green are the colours commonly associated with Ice, Fire and Water/the Sea in ASOIAF; in addition to being featured on the arms of ancient houses such as Massey and Strong, these elements are in turn associated with three magical items in the books. The first, The Horn of Joramun, can raise and lower The Wall (Ice); Dragonbinder, a horn that was likely used alongside similar horns to control the volcanoes of the fourteen flames in Valyria (Fire); and the 'Kraken summoning horn' which is most likely the Hammer of the Waters, since the Hammer raised the seas to swamp the 'Arm of Dorne,' which would have filled the seas fill with corpses of the dead and 'summoned' krakens, which would have fed on the bodies of the drowned.

The Valyrian, Northern and Rhoynish heritage of Dany, Jon and Aegon ties them to these three forms of magic respectively, and by extension to the Long Night. We are given three accounts of the Long Night between ASOIAF and TWOIAF, which I dub the 'western,' 'far eastern' and 'near eastern' versions. The 'western' account concerns the First Men, the Night's Watch, the Last Hero and the Others; the 'far eastern' account covers the 'Jade Compendium' and the Yi Tish account of the Blood Betrayal; and the 'near eastern' or Rhoynar account in which the children of Mother Rhoyne sang a song to return light to the world. Aegon is tied to the Rhoynish account through his mother's heritage, with references to the Rhoynish account in the 'Old Man of the River' appearing in ADWD and Dany's vision of Rhaegar talking about Aegon's 'Song' (that of Ice and Fire):

The Rhoynar tell of a darkness that made the Rhoyne of Essos dwindle and disappear, her waters frozen as far south as the joining of the Selhoru, until a hero convinced the many children of Mother Rhoyne, such as the Crab King and the Old man of the River, to put aside their bickering and join in a secret song that brought back the day. (TWOIAF: Ancient History: The Long Night)

...

“Will you make a song for him?” the woman asked.

“He has a song,” the man replied. “He is the prince that was promised, and his is the song of ice and fire.” (Daenerys IV, ACOK)

Jon's connection to the Northern account is obvious given his Stark lineage and service in the Night's Watch, as well as his dreams in ADWD:

Burning shafts hissed upward, trailing tongues of fire. Scarecrow brothers tumbled down, black cloaks ablaze. "Snow," an eagle cried, as foemen scuttled up the ice like spiders. Jon was armored in black ice, but his blade burned red in his fist. As the dead men reached the top of the Wall he sent them down to die again. He slew a greybeard and a beardless boy, a giant, a gaunt man with filed teeth, a girl with thick red hair. Too late he recognized Ygritte. She was gone as quick as she'd appeared.

The world dissolved into a red mist. Jon stabbed and slashed and cut. He hacked down Donal Noye and gutted Deaf Dick Follard. Qhorin Halfhand stumbled to his knees, trying in vain to staunch the flow of blood from his neck. "I am the Lord of Winterfell," Jon screamed. It was Robb before him now, his hair wet with melting snow. Longclaw took his head off. Then a gnarled hand seized Jon roughly by the shoulder. He whirled … (Jon XII, ADWD)

Finally, Dany is directly referred to as Azor Ahai in the books while her visions from Daenerys IX of AGOT connect her bloodline to the Great Empire of the Dawn. The eye colours of the figures she sees match the titles of four of the eight emperors of the GEOTD, Opal, Jade, Tourmaline and Amethyst, with the Bloodstone Emperor killing his sister the Amethyst Empress and causing the Long Night. Azor Ahai and the Bloodstone Emperor are themselves connected, and I recommend David Lightbringer's Nightbringer series and "Azor Ahai the Bad Guy" video for a concise explanation. It's worth noting that David is well within the Faegon Blackfyre camp, but I think his theories here more than fit my own conclusions also.

Aegon being one of the three heads also fits in with the symbolic relationship between water, fire and ice and the green, red and blue colour scheme. As Company of the Cat points out in her video about the magic horns (timestamp 26:52), green is a secondary colour made from a 'cool' and a 'warm' colour, placing it in the middle of the spectrum while red and blue are polar opposites. Similarly, fire can melt ice back into water and water in turn quenches fire, situating Aegon at a middle ground between Jon's ice and Dany's fire. Whereas Jon's only aspect of himself that ties him to House Targaryen is his father and otherwise he is firmly associated with his mother's house, Dany is tied symbolically to her Targaryen identity in the books, being a product of Targaryen incest, the first to hatch dragons in over a century, and her ties to fire through her 'rebirth' on Mirri's pyre under the Red Comet. While Aegon's physical appearance and his father tie him clearly to House Targaryen like Dany, the support of his mother's family alongside his Rhoynar lineage and symbolism place him in a similar situation to Jon, besides their being half-brothers. This also calls to mind the three accounts of the Long Night: if Jon is the Last Hero leading the Night's Watch and Dany is Azor Ahai driving out the darkness with her 'lightbringer' (ie her dragons), Aegon is the unnamed hero who rallied the children of Mother Rhoyne to sing a secret song which brought back the day. To quote alexis_something_rose's essay about Young Griff, "I can wager who will be bickering and who will tell them to set their differences aside and join together in a secret song that will bring back the day."

Whether or not all three or some combination of them will play a decisive role in defeating the Others, or if that will be Bran's part to play, I believe strongly that Dany, Jon and Aegon will be the 'three heads of the dragon.' If 'Young Griff' is truly Sun's Son, Aegon son of Rhaegar, his joining with Dany and Jon represents a unification of the three Dawn Age narratives of the Long Night and it's eventual end. Uniting the icey North, the dragon lord's fire and the songs of Mother Rhoyne would make the endgame a true 'Song of Ice and Fire.'

#aegon vi targaryen #young griff #faegon #jon snow #daenerys targaryen #elia martell #quentyn martell #lyanna stark #rhaegar targaryen #asoiaf #asoiaf spoilers #asoiaf speculation #dorne #rhoynar #azor ahai #george rr martin #house martell

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gatheringbones · 5 months

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robert f. reid-pharr, from living as a lesbian, from Sister & Brother: Lesbians and Gay Men Write About Their Lives Together, 1994

["In 1985 Barbara Smith came like a fresh wind into Chapel Hill. She brought with her a vision of home unlike anything I ever had imagined. It was then that I began the process of being a lesbian. It is only recently that I began to understand lesbianism as a state of being that few of us ever achieve. To become lesbian one has to first be committed to the process of constantly becoming, of creatively refashioning ones humanity as a matter of course.

Coda

By becoming a lesbian, I have done nothing more nor less than become myself.

I had expected to end this piece with these words, forcing all of us, myself included, to reevaluate what it means to be labeled lesbian, gay, straight, bi, transgendered, asexual. And yet, this is not enough. For even as I recognize the difficulty of giving definition and meaning to our various identities, I also realize that as I struggle to lay claim to my lesbianism I am always confronted with the reality of my own masculinity, this strange and complex identity that I continue to have difficulty recognizing as privilege.

It was a Friday afternoon in September when I had my first bathhouse experience. I'm not sure what I expected, or wanted. In truth, I was compelled more than anything else by Samuel Delany's description in The Motion of Light in Water of his visit to the St. Mark's Baths in the early sixties. I thought that it would be exciting, that perhaps within this outlaws' territory I could throw off the stifling fears and anxieties that shape and constrain our lives, sexual and otherwise. I even felt that, given the name of the enterprise I was about to visit— "baths"— there had to be something intrinsically cleansing and healing about it.

Now I find myself asking if in the bathhouse— the most sacred of male enclaves, where my masculine body and affected macho style increase my worth in the sexual economy— I am still lesbian. Is it lesbianism that spills out of the end of my cock as bald-headed men with grizzled beards and homemade tattoos slap my buttocks and laugh triumphantly? Is it lesbianism that allows me to walk these difficult streets alone, afraid only that I will not be seen, accosted, "forced" into sexual adventure?

All my bravado, my will to adventure is caught up, strangely enough, with the great confidence I have gained from "The Lesbian." And yet, this confidence, this awareness of my own body, of my own independence, takes me to places where she dares not go. Perhaps then I am not a lesbian at all, but rather like a drag queen, by day a more or less effeminate, woman-loving gay man, by night a pussy, a buck, the despoiler of young men recently arrived from the provinces and the careful tutelage of their loving mothers. What I know for certain is that this self, this lesbian-identified gay man, is in constant flux. I live like a lesbian, as a lesbian, because I know no better way of life. Still, I live beyond her, in a province that continues to be reserved exclusively for men, all the while reaping the many fruits of sexual apartheid.

Me, I want to escape…. this dirty world, this dirty body. I never wish to make love again with anything more than the body.

Perhaps in my next life I will be done with these questions of identity altogether, will cherish fully the body that I am given, begin to see it neither as burden or weapon, but only as the vessel of my existence. Perhaps in my next life I will have given up finally this constant struggle to explain who I am not— not woman, not white, not straight, not you— and start to revel in the limitless of my boundaries. Perhaps each one of us will recapture that which has been lost, start again to accept and acknowledge the profound ambiguity and uncertainty of this existence. It is then and only then that we will find home.

In 1985 Barbara Smith came like a fresh wind into Chapel Hill."]

#robert f. reid-pharr #gay literature #lesbian literature #gender stuff #history stuff #terra preta #transcribed

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santoschristos · 7 months

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Fount' by Dan Hillier

“Everything in this world, in this universe, is in a state of flux. The entire appearance of the universe is not a solid. It is energy, pure energy. Energy appears like people, like animals, like trees, like mountains, like birds, energy appears as the universe.” --Robert Adams Farewell to Dan Hillier. R.I.P

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zemagltd · 6 months

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Everyday Poetry - "Make your mold. The best flux in the world will not make a usable shape unless you have a mold to pour it in." Robert Collier

#photography #original photography on tumblr #happiness #quotes #daily calm #nature #art #living

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antronaut · 1 year

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George Maciunas - Flux Year Box 2 (c.1968)

Eric Andersen, George Brecht, John Cale, John Cavanaugh, Albert Fine, Ken Friedman, Fred Lieberman, George Maciunas, Yoko Ono, Benjamin Patterson, Willem de Ridder, James Riddle, Paul Sharits, Bob Sheff, Stan VanDerBeek, Ben Vautier, Robert Watts

#George Maciunas #Eric Andersen #George Brecht #John Cale #John Cavanaugh #Albert Fine #Ken Friedman #Fred Lieberman #Yoko Ono #Benjamin Patterson #Willem de Ridder #James Riddle #Paul Sharits #Bob Sheff #Stan VanDerBeek #Ben Vautier #Robert Watts #galleryIII

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thomasmartinnutt · 4 months

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Robert Watts. Flux Post, 1963

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chicanoartmovement · 4 months

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CHICANO ART MOVEMENT visits: “Rasquachismo” 2024

On Saturday 05/11/24, we visited Huntington Beach Art Center to view “Rasquachismo” in the city of Huntington Beach, California.

(“Beyond Timeless” by Justin Favela, 2022)

We learned from the mission statement that: “‘Rasquachismo,’ [is] a multi-media exhibition celebrating the aesthetics and transformative power of Lowriders. Featuring work by William Camargo with Alkaid Ramirez, Justin Favela, Stephanie Mercado, Arturo Meza Il, Aaron Moctezuma, Jose Manuel Flores Nava, Alicia Villegas-Rolon, and Cora J. Quiroz.”

(“Anaheim in Flux” by William Camargo with Alkaid Ramirez, 2024)

“Emerging from the barrios of Southern California, lowriding brought forth a long resistance against the American Dream and dominant idealist norms that attempted to anglicize the young Chicanx individual. Forces of the Anglo-American culture did all it could to disrupt and omit the lowrider. From individual traffic stops to passing county-wide laws, all were attempts to take the lowrider off the streets. Low and slow, their metallic bodies transfigured in response. Now, unapologetically visible, lowriders glisten in candy-colored paint and dance with the aid of hydraulics. The power of lowriding extends beyond the car's aesthetics, however. It has become a rasquachismo expression of Mexican-American, and, eventually, Chicanx identity.”

(“Highland Park” by Stephanie Mercado, 2023)

A favorite of Robert’s at the “Rasquachismo” exhibit was Stephanie Mercado’s “Highland Park.” Through a little research, we learned that “‘Highland Park’ honors the cultural richness of the area including its history, diversity, and its valuable contributions to the broader arts and culture sector of Los Angeles. Utilizing imagery and icons sourced from the neighborhood, this piece celebrates the enduring local landmarks and showcases the architectural diversity that defines the area. Simultaneously, it pays homage to the artists and art spaces that have played a vital role in making Highland Park a vibrant and lively neighborhood for generations.”

(Detailed view of “We Can Dream” by Cora J. Quiroz, 2022)

From the museum ephemera, we learned that this painting entitled “We Can Dream” by Cora J. Quiroz is part of a series called “Not Your Typical Rosie.”

The artist states: “I paint women in a way that removes them from being acquiescent muses in typical artworks. From action, body language, and clothing, to expression, I ensure the women I paint have active roles of inspiration, movement, and storytelling. Raised by my mother, I learned about my family’s history through oral tradition. Rather than beng inspred by male-dominated stories in media, I became inspired by the Indigenous and Mexican women of my family, taking spaces where they were not expected.

The simplest acts typical for a man to perform, can often be taboo for women, such as working in the car industry. Despite this, for many years there have been women who have gone against the grain to become whoever they pleased to be, going beyond the WWII icon associated with strong women. These are the stories that inspire my work.”

(“El Cuento de los Panes: A Community Installation Inspired by Dr. Tomás Ybarra-Frausto” organized by the Exhibition Design students at Laguna College of Art and Design, 2024)

The exhibition statement shares that the term rasquachismo was “coined by Chicano scholar and art critic Tomás Ybarra-Frausto to describe ‘an underdog perspective, a view from los de abajo’ (from below) in working class Chicanx communities which uses elements of ‘hybridization, juxtaposition, and integration’ as a means of empowerment and resistance.”

The Huntington Beach Art Center presents “Rasquachismo” curated by Laura Black until June 1st, 2024 with their last programming event of an artist discussion is set for Saturday May 25th, 2024 from 1pm to 2:30pm.

#rasquachismo #huntington beach #chicano art #contemporary art #chicana art #photography #oil paintings #orange county #hb #car culture #california art #mixed media art #art history #chicanx

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