#was inspired to write the ENTIRE BOOK

[unowneyenon]

experienced actual physical whiplash after scrolling through goodreads reviews and learning that a review from colleen hoover is the entire reason as to why fifty shades of grey exists as a book i’m crying real tears

[stil-lindigo]

emily carroll has once again permanently changed my brain chemistry

[londondungeon2]

omfg it’s almost midnight here and i have to get up for work at 5 AM but let me compose at least some of my thoughts …

ok idia x robot girl! reader … hear me out 🥺

someone he creates to cure his loneliness of companionship in a tender way that ortho just cannot do; ugh i’m imagining a plain head just sitting on the desk, stripped down to the metal and skinless; him asking which eye color you like the best until it lands upon yours;

the midnight conversations as he builds a body; the pining from the reader (is it actual pining or are you just scraping the edges of desperate self perseverance so he doesn’t trash you like the other models); kind of dream-like transition between adding each body parts (like imagine yourself lying in a tub of ink — cheeks, nose, lips, a slight peel of your forehead visible — and eventually it all drains down as more and more body parts are added);

the first very touch of human flesh upon you; the cracked polystyrene blinks that you give with twitchy eyelashes; you siphon your romantic tendencies between a messy mélange of gritty 18+ hentai and victorian romance novellas; idia pours his damned and tormented soul into making you perfect for him and you pour yourself willingly into the image, designed just for one man <3

past midnight edit:

BRUH TO THIS SOnG

yeah to this fuckin banger

((past midnight edit again: there are really only two ways you can go with robot main characters: the building process or the robot being oblivious and thinking they are human (Ex Machina or Twilight Zone) i enjoy both sooo much))

[pettyprocrastination]

Reluctant Bride

Pairing: Ellaria Sand x Baratheon!Fem! Reader (background Oberyn Martell x baratheon!fem!reader)

warnings: description of war, derogatory description of women, forced marriage, oberyn talks lowly of the reader’s appearance and status because he’s angry he has to marry in the first place, Oberyn is a dick but he gets better, (this makes it sound worse than it is lol. Just lore building with angst and sapphic yearning lmao. 

Summary: Just months after the rebellion has ended, Ellaria Sand meets her lover’s betrothed.

word count: 1k 

_____

Ellaria was dressed in finer clothes than you on your own wedding day. 

Orange silk embroidered with golden serpents hugged her curves and fine jewels were weaved into her hair that your betrothed seemed content to twirl with his finger as he leaned in to whisper in her ear. 

You didn’t need to be told who she was. The beautiful woman by your husband’s side, you saw it plainly in his eyes. Love and devotion that could never be found in a marriage under the sept’s roof, but rather one made by affection and passion. 

Ellaria Sand was more of Oberyn’s wife than you ever thought you would be. 

But bless the poor woman’s heart, she was frightened. 

She didn’t want to come to his wedding at first. But Oberyn has all but begged her to, laying gentle kisses up her arm until he was mumbling his plea into the crook of her neck. 

“If I will be forced to wed against my will, the least you can allow me is the pleasure of having my true love by side when I am chained to another.” 

He always has a flair for dramatics, her sweet prince. 

But Ellaria felt it, as she entered Storm’s End by his side, the judgemental stares and hushed whispers when his hand did not release hers. She knew exactly what they thought of her without ever heaving to hear their voices grind against her ears. 

“He brought his whore?”

“To his own wedding, the gal!” 

“She’s a bastard too, I heard.” 

“That’s the dornish for you, debauched dogs, every single one of them.” 

But she would not flinch at their words, she knew she was a bastard since birth, Dorne may have welcomed it but the rest of Westeros had no issue reminding her and every other sand in the world of their place. She learned it well and wore it with pride. She was the lover of the Red Viper, a child of house Uller, the gossip of tittering lords and ladies did not frighten her. 

However, the Baratheons did. 

She would be a fool not to, truly. They were the ones that started the war, plunging the realm into a year of bloodshed and horror that their eldest son charged headfirst into without a second thought. 

Strong, dutiful, dangerous. 

As she entered Storm’s End, thunder echoing against its stone walls that made their grand home resemble a shadowed cave rather than a castle, she is reminded of their words. 

Ours is the fury. 

It had been the third child, who greeted them. Dressed in all black and face somber, he looked well past his age, like a soldier returning from war rather than the young man just coming to age as he was.

“It’s a great honor to have you, my prince.”

But Stannis Baratheon had suffered a siege while his brother commanded from the battlefield, he had seen the war just the same. 

His eyes, dark and cutting like a hidden blade, fell onto Ellaria, for a moment she felt as if she had come to an execution, rather than a wedding. Stannis looked at her like an intrusion, before bowing his head. 

“My sister is eager to join our houses with this union. As are you, I am sure.” 

Oberyn’s agreeance was slick with mockery, teeth flashed in a grin that made the young man’s face go sour. 

“There is nothing I look forward to more.” 

He had yet to let go of Ellaria’s hand. 

The pair did not separate until they reached the sept, a grand building covered in tapestries of every dead saint and alive with hymns that speak of love and devotion. 

Two things seldom found between husband and wife. 

Oberyn walked to the altar alone, but his eyes caught hers  in the crowd and he smiled. Even from afar, she knew him well enough to catch the twitch of his thumb at his side. That despite his anger and dismissive arrogance he loves to wrap himself in like a silken robe, he was at a disadvantage. This was not his home and nor were these were not his people.  He was in the house of the family responsible for the death of his sister with no plan for vengeance, but a wedding he was forced into, just like his Elia.

Ellaria’s gaze is pulled from her lover as the grand door creaks open over the singing, where their king enters, face still laden with scars of the rebellion, of his conquest, escorting the bride by hand. 

Robert Baratheon was large in every way possible. His presence commanded respect. Even in his formal wear the bulk of his muscle was seen through as he walked. The hymns dulled to a soft hum at his entrance, head turning as his eyes cut into the crowd before they landed on Ellaria and she froze in her spot. 

For a moment, fear clenched her heart. 

Robert had unleashed a war upon the realm when Rhaegar took his betrothed, he plunged his siblings into starvation and rode against countless noble families that now bend the knee to him. He caved in the chest of the silver-haired dragon prince himself, severing the three headed dragon with his war hammer until there was nothing left of it’s legacy than two eggs, lost to the wind. 

And here she stood at his sister’s wedding, the proud lover of her betrothed. 

There’s a brief moment where she wondered if he was going to say something. Shout an order for her to be escorted out for being so bold to be at the union, but then a hand squeezed his and he pulled away from her gaze to yours. 

“Don’t.” Barely a whisper that only he could hear. No question nor plea, but an order. 

One the Usurper obeys without resistance. 

Ellaria had never seen you in person before. But Oberyn had painted a foul picture of you the moment your betrothal was confirmed to still be held after the rebellion. He spoke of your sneer and the way your lips puckered into a sour pout each time somebody spoke to you, your eyes were flat and empty of any emotion. 

“If it weren’t for her skirt I wouldn’t know which one I was marrying.” Oberyn jested as he lifted a goblet of wine to his lips. “Her or Stannis.” 

Ellaria watched you walk down the aisle to her lover, struck by your beauty. 

A hood sat atop your head that fell to embroidered lace covering your shoulders, her eyes found a stray curl that dangled by your face and wondered what it would feel like under her finger tips. Dark eyes flick over to her own if only for a second and she felt herself stopped once more, not with fear. 

But desire. 

You continued forward and she watched you walk down the aisle to the awaiting prince. 

A strong nose frames the soft line of your features, shoulders drawn back and head held high like a queen to be worshiped or a painting to be admired. 

You were regal. Looking more like a crowned ruler than the king by your side.

Your voice did not waver during your vows, she wondered if you were frightened. Any woman would be. To marry a man who loathed her family for a death you had no part in. 

But you didn’t let it show. Instead the promise to be a loyal wife echoed through the sept before you leaned forward and pressed your lips to Oberyn’s, who was just as stiff as you. 

As she watched the first kiss of an unwanted marriage, Ellaria’s chest filled with envy of her beloved prince. 

[rosy-cozy-radio]

I have a ton of mutuals who can tell me about fandom stuff which is great but sometimes I wish I could ask you guys questions like “what did I eat yesterday?” or “where did I put my AirPods” because as a neurospicy person I dedicate most of my brainpower to storytelling stuff I learn in school and very little to being aware of what’s going on around me so I need someone who’s actually paying attention desperately

(I am lucky to have people like this irl but still I wish I could ask you guys things about my life that I should know but I don’t )

[bisexualseraphim]

Bigots who burst a vessel over gay and trans people existing because it’s “not natural” are the funniest people on the planet because like. Babygirl the car you drive isn’t natural. The house you live in didn’t magically appear, it’s not natural. The phone you’re using to call people slurs on Twitter isn’t natural. If you need glasses to see, they’re not natural. If you have a job standing on your feet all day at Target, that’s not natural. This whole ✨marriage✨ thing you’re obsessed with protecting isn’t natural. 99% of things human beings have done for the last 5000 years or more aren’t “natural” so unless you want to go back to completely living like homo habilis I don’t want to hear shit about “natural”

[antiyourwokehomophobia2]

Me ranting about a book below the cut but I just need to get this off my chest

Honestly, I hated that ending so fucking much. It's honestly so fucking impressive how the author was able to ruin two books worth of stuff in one single sentence at the end. I can't believe that she'd allow the two of them to take on other lovers. The MC went a full century without touching anyone else. She waited for her lover to awaken and yet??? I feel like the two of them just should not have gotten together if they were just gonna??? Break up, fuck other people for a hundred years, and then get back together? How on earth is that love? How on earth is that "fated"?

"Hey, I'm totally cool with you being miles away from me even though you genuinely do not have to be. Not only that, but I'm totally cool with both of us fucking a multitude of other people for literally a hundred years. After we're done with our hundred year escapade of not being loyal to each other, why don't we get back together?"

Fucking insane. That's your retelling? That's your happy ending?? What self respecting person would allow someone to put them on the back burner for 100 years? It's not like their love wasn't confessed. They admitted to loving each other. Or loving each other once, at least. So? Either end it or be faithful? Who the fuck allows themselves to be a "hmm... I'm gonna sample everyone else first and come back to you when I feel like it" for fucking 100 years? Is that really love prevailing? Is that really true love? And what on earth was with all that ambiguous sexuality bullshit? I'm going to kill someone.

Y'all, I am being so fucking serious when I say the ending of this book influenced by writing and my drive to be a writer in a way that literally nothing else has. This book had me in shambles. I can't think about it too long. I cried for days after. Just the thought of the line "Alyce, come home" can send me into turmoil fr. God, I fucking hate lesbian books. I'm never reading one again.

[puhpandas]

if only you guys knew the sheer amount of beckory (like actual plot) stuff I have planned out in my writing documents

[subconsciousmysteries]

Men are absolutely losing it because women are seeing through their bullshit and I'm here to watch their collective narcissistic meltdown

[runefactorynonsense]

Cozytober - Day 16 - Book

...I'm scared of that book.

[aroaessidhe]

2024 reads / storygraph

Apollo Ascending series

Greek myth inspired fantasy romance series

Apollo is forced to spend a year with the prince of a neighboring kingdom before ascending to godhood, despite hating everything gods stand for and wanting to stay mortal with his sister

Prince Hyacinth is dealing with taking over his father’s responsibilities, and having to host the unruly almost-god, while his sister tries not to be forced into a role and marriage she doesn’t want, as she’s in love with a stablehand

romance, drama, tragedy, and a war against the gods,

5 POVs, m/m m/f & aroace

[fideidefenswhore]

Really liked your ask comparing alison weir's book excerpts to that of historians, do you have any other examples like that?

this one?

and sure, again, the important thing to remember is that pop history is digestible and straightforward; but that this doesn't make it 'better'. the genre is dependent on a misapplication of the adage, 'when you hear hoofbeats, think horses, not zebras' to any single primary source. a better rule of thumb to go by would be that 1) where there is a general consensus by a variety of sources, and a single aberrant, it's reasonable to assume the former was true (rather than a conspiracy that only the aberrant has 'outsmarted')-- or, at the very least, widely believed to be true --, and 2) where there is a total contradiction between sources, it's reasonable to assume that the truth lies somewhere in between.

pop history also deals in truisms that do not allow for the complexity of history, nor the people of history: that praise was either always genuine, exaggerated, or disingenuous, that invective always reflected fact and complete understanding, and was never motivated by self-interest, that self-fashioning always reflected truth. as such, it does not give space for individuation and it assumes homogeneity.

this is the comfort and the insidiousness of pop history: the neophyte reader often feels that the scales have dropped from their eyes, that they have been privy to the unwrapping of the mysteries of the universe for the low, low price of £2.99...when, in reality, what they have read is merely a summation of primary and secondary source quotes with no true interrogative research and nothing approaching historical methodology, with some narrative fashioning and paraphrase techniques threaded throughout.

since you asked, i'll continue to use weir as the exemplar of these contrasts (which i'll get to, i promise, scroll down for that part if you want to reach it first, it'll be cued in red): i'm not a 'fan', but i won't diminish her efforts by denying that these books are her life's work in the sense of how much time and effort she must have put into every single one, in reading, in research, and in writing (six wives of henry viii, her first, alone had 656 pages, so did her likely second most popular, henry viii and his court, her book children of henry viii was 385 pages, her biographical books on the boleyns alone, lady in the tower and the mistress of kings, a collective 900, so altogether of her most popular that's...2593 pages, and bestselling, no mean feat...but it continues, 366 from her katherine swynford biography, 494 pages from "she-wolf of france", 640 pages of her mqos biography, 544 pages of her elizabeth i biography, 336 of her book about the princes in the tower, 441 for her biography of eleanor of aquitaine, and her book about the wotr, at 512 pages, clocks us in at 5560 pages from 1991-2010).

but there's a reason weir's published fifteen nonfiction books since 1991, and there's a reason twice as many degreed historians (the 'power couple' of john guy and julia fox), despite their collaborative efforts, together have published a comparable volume only within a much longer amount of time (if we limit to the above timeline of 1991-2010, we have his mqos biography of 574 pages, his biography of margaret roper at 448 pages, the tudors: a very short introduction at 128 pages, and julia fox's dual biography of catherine of aragon and joanna of castile at 464 pages, her biography of jane boleyn at 416 pages, clocking in at 2030 pages total...again, for perspective, this is the output of two historians in the same twenty years as a single pop historian, drafts of their upcoming books notwithstanding, they probably existed in some format, somewhere, unready for publication); and the reason is that the process of historical methodology and rigorous research takes much, much more time (not to mention, expertise...) than the process of pop history.

As a non-fiction author, I write 'popular' history. The term has sometimes been used in a derogatory sense by a few people who should know better, because all historians use the same sources. History is not the sole preserve of academics, although I have the utmost respect for historians who undertake new research and contribute something new to our knowledge. History belongs to us all, and it can be accessed by us all. And if writing it in a way that is accessible and entertaining, as well as conscientiously researched, can be described as popular, then, yes, I am a popular historian, and am proud and happy to be one.

let's say i'm not going to quibble with the generalizing, obfuscating statement of "all historians use the same sources" (is alison weir accessing archives directly? is she fluent in the languages of these sources in their original form, or is she relying on the translations of others? is she making any attempt at all to research and integrate various sources of the same events??); and for argument's sake, let's say i accept it at face value. for argument's sake, that brings me back to my earlier point: what weir's readers are accessing is a narratively entertaining summary of primary and secondary source quotes with no true interrogative research or historical methodology behind the narrative. as such, it is often teleogical and presentist. they are accessing something they anyone could recreate with their own "voice", so long as they have the same list of quotes, verbatim and paraphrased, that they could putty their own narrative cohesion in between: so long as they had the free time, the financial support, the skill, the will, the interest, the drive, the discipline and the stamina.

"history belongs to us all", yes! "history can be accessed by us all", i really wish that were true, but it isn't, not entirely. that's not me 'gatekeeping', that's me acknowledging that there are sources and books not everyone has access to, quite unfortunately. not everyone can visit museums or historical sites or archives or universities in person (whether due to cost, or disability, or both), not every book or article can be accessed without university (library) access or at quite great financial cost, even in the case of academic papers that have been made available on open access websites, some might be in a language the reader is not fluent in, and the translation either does not exist, or is not open access... not every library will have every paper, book, or access to online archives that the researcher is searching for, not every library has an ILL (interlibrary loan) program.

at least two of her most popular books were published before the advent of wikipedia, but there is, again, a reason that many chapters from many of her books read like expanded versions of wikipedia articles. they read as encyclopedic 'everyman's' entries because that is what they are, subjectivity masquerading as objectivity. anyone can have a point of view, but a pov alone does not make a work "conscientious". her usage of 'conscientous' as a self-descriptor is rather revealing in and of itself, because my impression is that she is referring to her own writing as being driven by her personal conscience, rather than any prevalent ethical standards that define the 'conscientious historian' within the professional study of history:

Q: Is it not the case that testimonies can be manipulated and distorted to serve certain interests? If so, what critical tools must we avail ourselves of to unmask such manipulation? A: In order to answer this we must refer to the epistemological structure of historical knowledge. The fundamental objective of a good historian is to enlarge the sphere of archives, that is, the conscientous historian must open up the archives by retrieving traces which the dominant ideological forces attempted to suppress.

(brief interruption here to offer my own commentary specific to the subject: a huge drawback of tudor pop history, not unique to weir, but imo, is that it acknowledges protestantism as an-- eventual, and sometimes, arguably, prescientally early-- dominant ideological force, and does not regard catholicism as a dominant ideological force in the same way...even during mid-henrician, edwardian, and elizabethan eras, catholicism was the dominant ideological force of 'christendom', at the very least, even if not in england...& at risk of losing forest for the trees, i'd also argue protestantism /= henrician anglican supremacy/caesaropapism, but i digress...)

[con't] [...] In admitting what was originally excluded from the archive, the historian initiates a critique of power. [...] The historian opposes the manipulation of narratives by telling the story differently and by providing a space for the confrontation between opposing testimonies. We must remember, however, that the historian['s] [...] [condition] dictates that we can never be in a state of pure indifference. The historian's testimony is not completely neutral, it is selective activity [...] it is, however, far less selective than the testimony of the dominant [...] Here we should invoke [the need for] 'reflective equilibrium' [...] between predominantly held beliefs and the findings of critical minds represented by professional people such as historians. Such a mechanism helps us distinguish good from bad history.

so, what is highlighted, well...weir fails to acknowledge any of this, nor does has she (and arguably, has never, or at the most generous i could be, rarely) practice any of this, and i'm about to demonstrate an example...

(if you've read this far, you're a real one, bcus i am finally going to delve into a specific, parallel example, like the former ask:

"In October 1535, Cromwell brought the King devastating news: Tunis had fallen to the Emperor, and the Turks had been crushed. Chapuys told his master that Henry and Anne looked 'like dogs falling out of a window", so distressed were they by the news. As if this was not bad, enough [...] Anne was blamed [for the bad harvest and bad weather] by the common people [...] It was not a happy homecoming when Henry and Anne ended their progress at Windsor on 26 October [1535]." The Six Wives of Henry VIII, by Alison Weir

so, let's break this down: although citations would have made an easier flow, weir has, at least, done right by at least integrating and specifying the source for the first claim: "chapuys [wrote to charles v] that [this had happened". let's examine that primary source:

"Remarks on the Emperor's military achievements. The English are much pleased at his victory, in accordance with the incredible affection which they almost all bear to him; except the King, the concubine, Cromwell, and some of their adherents, who, as a man whom he sent to the Court reports, are astounded at the good news, like dogs falling out of a window. Cromwell could hardly speak." Chapuys to [Granvelle]. 13 Sept [1535]. Vienna Archives.

is this the entire story? is this more than one angle? it's not even really an exhaustive summary, weir hones in on the reactions of henry&anne (rather than the reactions of cromwell and 'their adherents') to underline the conclusion of the summary: "it was not a happy homecoming...[for] henry and anne". it's clear that it's a partially redacted image, because as the excerpt from weir's book continues, she continues to adhere to the single source in question. i'll discuss and expand on others once i've done the comparison between her summary and the relevant report for the second highlighted piece:

"The said ambassador expressed his astonishment to me at the English being still allowed to import corn from Flanders. This, he said, would not be tolerated in France under the circumstances. My own opinion is that the affair ought to be looked into, inasmuch as the harvest here has been very poor, and people begin to murmur. The King and his concubine, who formerly had it preached from the pulpit that God favoured particularly the English by sending them fine weather, have it said now that, "whom God loves, He chastises."" + "This would be the best time [to invade England], while the people is provoked by the great cruelties daily committed and the worse than tyrannical extortions practised on Churchmen, the expulsion of monks and nuns from their cloisters, and, most of all, the famine which threatens to prevail in consequence of the bad harvest, all which is imputed to the bad life and tyranny of the King."

well...again, this is all very interesting. as weir states, chapuys reports harvest is poor, the weather is poor, and that 'people begin to murmur' at these happenings... but he doesn't specify, actually (at least in relation to the bad harvest and weather), that it's anne boleyn who's blamed by the people. actually, what he specifies here is that the famine is imputed by them to the "bad life and tyranny of the king", not the queen (or, as he names her, 'concubine'); it's reasonable to assume that 'the concubine' is part of the 'bad life' they're condemning, but she's not specifically stated as the cause of the 'murmuring', it's henry viii's actions that are (and, it makes sense that he's pushing this, because it's an uprising against henry specifically that he's promoting, here).

so, what was happening here when weir wrote this? imo, a classic case of confirmation bias. i don't think weir actually was reading quotes from the archives, i think she was reading their summaries, as given in the divorce of catherine of aragon, by james anthony froude:

"The harvest had failed; and the failure was interpreted as a judgment from Heaven on the King's conduct. So sure Chapuys felt that the Emperor would now move that he sent positive assurances to Catherine that his master would not return to Spain till he had restored her to her rights. Even the Bishop of Tarbes, who was again in London, believed that Henry was lost at last. The whole nation, he said, Peers and commons, and even the King's own servants, were devoted to the Princess and her mother, and would join any prince who would take up their cause. The discontent was universal, partly because the Princess was regarded as the right heir to the crown, partly for fear of war and the ruin of trade. The autumn had been wet: half the corn was still in the fields. Queen Anne was universally execrated, and even the King was losing his love for her. If war was declared, the entire country would rise."

that would be my assessment of this particular excerpt: it's froude that connected the 'murmurings' about the bad weather and poor harvest to anne being 'universally execrated', and it's weir, using froude as a source, that followed suit. there's the flavor of "the king was losing his love for her", asw, even if not explicit ("it was not a happy homecoming for henry and anne"...speaking of, let's see what historians say about that specific period of time in reference, post-progress, late 1535:

"Henry and Anne’s marriage doesn’t seem to have been on the rocks [at this point][…] In the autumn and winter of 1535, they were constantly described as being ‘merry together’, which is probably [when] Anne conceived […]" Suzannah Lipscomb

"Secondly, Chapuys' gossip must bet set against the far greater weight of evidence that shows that Henry and Anne were often happily together and that despite occasional outbursts, their marriage seemed set to last. On many occasions the king and queen were reported as merry, notably in October 1535 [...]"

Power and Politics in Tudor England: Essays by G.W. Bernard

weir doesn't examine the context and various sources about henry being informed of charles v's victory at tunis, nor does she here interrogate the authority and credibility of chapuys as a source. but, luckily, for the purposes of this ask, an accredited historian, does:

"Additional information came from the most varied sources, such as Joan Batcok, a resident in the empress’ court in Spain, who obtained copies of letters from Charles V to the viceroy of Navarre and sent them to her uncle, John Batcok, who forwarded them (and the copy of a letter from the bishop of Palencia) to Cromwell on 5 August, along with details he had gleaned from talking to men already back from the North African war.[...] Chapuys was ignorant of all this. [...] It was not until 14 August that Chapuys learnt of what he called the glorious and most important victory in La Goleta from the imperial ambassador in France, and sent a courier to Henry VIII with the news. There was no public audience where it could be publicised. Henry VIII gave the envoy some money as customary, and sent a deer he had hunted to the ambassador, which was interpreted as a sign of his great pleasure.

Later Chapuys found out that Henry VIII had already known of the emperor’s success and had neither celebrated it or shared the information. In fact, the king distanced himself as far as possible without breaching protocol. He instructed Cromwell to relay his «pleasure» at the emperor’s success and Cromwell did so in writing rather than in person. By contrast, when they heard that the French ambassador had news of the meeting between Mary of Hungary and Leonor, he was summoned to speak with the king and taken hunting [...]

The king again instructed Cromwell to give him some money and to inform Chapuys that he could not have been more delighted with the victory if it had been his own, and that he congratulated the emperor warmly. On 10 September Cromwell transmitted the message in writing. The offense was so patent, Chapuys reported the bare facts and commented bitterly: «God knows how much more he would have given [the envoy] for contrary news». According to the envoy, however, the reaction of the English king and courtiers to the news was extreme. He claimed that Cromwell had been left speechless, and the English courtiers so astonished and dismayed he thought they resembled a pack of dogs falling out of a window. Chapuys contrasted this with the rejoicing of «the English people» outside the court who loved Charles V. The king and his court remained inaccessible to Chapuys, who persevered by sending information. He had to be content with polite letters from Cromwell informing him that Henry VIII was «very interested» in the details, and that some of the accounts were so vivid Cromwell could almost imagine himself there.

It took repeated demands from the ambassador before even Cromwell agreed to meet him - on 13 October [1535]. Even then, it took place late in the day and in private. Chapuys’s disappointment is reflected in his comment that he hoped Henry VIII would be punished for «his impious folly and dishonourable joy at the descent of Barbarossa on Naples and at Tunis [in 1534]». To add insult to injury, false rumours spread that Charles V had written friendly letters to Henry VIII during the campaign and entrusted him with the defence of the Low Countries. Worse still, the victory made no difference to Henry VIII’s policy, nor did it ameliorate his treatment of the Catholics or of Queen Katherine and princess Mary, as the imperialists had hoped. Indeed its impact was negative: it heightened fears that Charles V would now attack Henry VIII, as the English Catholics were urging him to do. Katherine thanked God for «the great victory» and the emperor’s safe return because he could now devote himself to relieving the suffering of English Catholics, not least herself and Mary. It was not only the emperor’s covert enemies but his closest relatives and supporters in England who called into question the value of his victory. Chapuys urged Charles V to devote his efforts to saving Catholicism in England which was his duty and more meritorious than anything he had done in Africa. Some English Catholics publicly stated that helping them and organising a general Council of the Church were «more praiseworthy deed(s) than the conquest of Tunis, and more necessary than the recovery of the lands of Christendom from the Turk». Princess Mary, having praised his triumph in the «holy expedition», complained that he had clearly failed to understand the gravity of the situation in England since he had chosen to fight in Tunis. He must rectify now and do this service to God in England in order to gain «no less fame and glory to himself than in the conquest of Tunis or the whole of Africa»."

«NO GREAT GLORY IN CHASING A PIRATE». THE MANIPULATION OF NEWS DURING THE 1535 TUNIS CAMPAIGN, María José Rodríguez-Salgado

i wanted to offer up that broader, overarching context, but to settle back into the report weir offered uncritically: the broad timeline of events is that chapuys informed henry of charles v's victory in august, to which henry sent him money and a gift. he informs him again, weeks later, to which henry sends him his congratulations, and money, again. chapuys then claims (to granvelle, charles v's advisor) that henry (who already knew about it) was shocked by the (second) message, and cromwell (who already knew about it) was too stunned to speak.

[creppersfunpalooza]

wasn’t a huge fan of the asylum for wayward victorian girls narrative wise cuz of it’s poor approach on certain subjects (and how anti-recovery it is like damn okay) but the music that was made for it is SO GOOD for oc inspiration. like i still enjoyed the book regardless because of its medical concepts (i feel MEAN saying i couldn’t stand the characters because it was specified to kind of be a fictionalized “auto-biography” but alas)

anyways the music is great for evil medical or even scientist characters would recommend (i’m talking about vian.)

[israbelle]

im so brave for being the sole bastion of hatred and violence in this world while also being the friendliest person anyone knows

[j-esbian]

frustrating how so many craft books have a section about "how to sell what you've made"

like on one hand i get it because the person writing the book has obviously made their craft a full-time job. and they might have some tips and tricks that might be useful, and there are people out there who might be trying to start a small business out of it

but on the other hand it's just exhausting and feels like another voice saying "what's the point of having a hobby if you're not going to monetize it"

[yoonyia]

my humanity in a book series now that I actually think about the premise is so weird.

the original concept is just to prove that all of humanity's pain and suffering and joys and gifts can be shown in just a few books, that a lot of our struggles are shared and a lot are unique but that they're all inherently human.

no matter what experience you go through it's going to be a human experience because you are a human, and no matter how isolated and alone or exiled you feel the rest of humanity you are still infact human and take that part of you everywhere

you will always be a step in some direction of humanity no matter what that deed is

it's not meant to be read as comforting, in all honesty most of the characters find the idea of never not being human to be sort of disturbing. But that's a part of the human experience too. To look at humanity and say "man we suck"

But now I'm looking at it and it's more then that

the book is set in the 32nd century

although because of my lack of imagination I can't think of what the language would be like I did haphazardly put together a culture that I personally felt like matched the common trend of development in humanity

everyone is given a livable space, concept of currency really isn't a thing (but that's less on humanity and just because the space colony is made up of roughly 10,000 people and trade is impossible, there's more reasons too but I won't get into them at this moment) and in all honesty the society is fundamentally different then most societies on earth.

It's what you would call a utopia but it's such an obvious system that no body even considers it good. They talk only about the unfairness of the council members and the inhuman layout the colony is built on to make it relatively fair between all people. (I say fair not equal because they do take children, occupation and just size of person into account, which yes is a nightmare for everyone invloved)

but I dont know if you see it but there's a disconnect

they don't value the things we value, they don't have the same desires the same ambitions the same secret indulges, many conflicts are the same as they are now but they have a completely different context, different reactions from people, different tones and no real recognizable side we usually see in modern debates.

it's worse then if it were completely different conflicts, then you could just do some narrative translation and make it based off of the modern lense but you can't do that because it's the same conflict. ofcourse it's not to a point where your brain thinks "I can't compherehend this at all" but actually that makes it worse, because it is compherehensible it just isn't common

it's a story trying to tell you that all human experiences are inherently human but it's showing you a humanity that you can't really quite connect with

things you think are basic desires exist but they're not considered the core things that makes someone human, there's something alien about these people that you can't really agree with the actions they take and can't make sense of the movements and words they make.

800 years is a long time and I wanted to show it but I made a story that's inherently ironic

it still fits the original theme, it might fit it even better since it's telling you no matter how much humanity changes its still going to be humanity

but I left my audience behind, I alienated them to show them that they are human, that despite the alienation they're still apart of this society that they're reading about that dosent feel quite right

it's a weird thing to do

I really thought this book was going to be simple to write but I'm already adding layers and I don't think I'm going to stop

and also the science aspect behind this story excites me so much

I'm no biology major so half the stuff I come up with for the alien planet's are probably going to be impossible but it's fun to write about

espicially the plants, I found the heat regulated Lilly pads to be really fun to think up of

also fox like creatures that glow under uv light, gosh that took so much research

they're adorable by human standards but they are deathly venomous so please don't pet them

this series isn't even the only one in this universe

there's a second story that I suddenly forgot the name of but it's something like 'Colony 1, Brother Lutangalo' or something similar.

oh and if you haven't noticed yes these books are heavily inspired by the enderverse and I just wanted to go more indepth into the parts of the books that was largely left unexplored. So this series is also inspired by the shadow series, so the humanity in a book is more morality, conceptual and personal in nature the col1 brother lutangalo books are more political and more grounded in the main society (the 2 main characters are sent to set up a colony on a different planet so they aren't really on the main colony themselves) the main narrator being lutangalo which is the son of the 108 year old colony leader Lau. (this society also has a euthanization law that all people over the age of 100 by law must die to prevent over population, but religious leaders are protected so they can live pass 100 indefinitely) and is currently 8 when you first meet him. Actually his books don't start until he's 12, we meet him when he's 8 because that's the year the 2 main characters comes back

his books, and I'm calling them his books because this series is heavily centered on the one character rather then the humanity series which is forced to jump between people in different time and space to get the message across because the 2 main characters litterally don't react to anyone else but eachother for the majority of book one, all of book 2 and half of book 3 (at least that's what my planning says but it may change when I get to writing the drafts)

anyways his books are very focused on the family that he's apart of and how they affect the colony, it also focuses on the personal perspective of this one kid which is honestly the closet thing the readers get to a instinctually relatable character, he has all the impulses and needs a person of the current age would have, because he basically lived in the 21st century because of his obsessive need to research about Mr ari who is notoriously a history nerd.

so you're finally getting a person that lives and breathes in the same patterns as you do.

and he's so miserable

he is one of the most troubled, impulsive people you have ever met

but also the calmest and kindest and gentlest person at the same time

he's a horrible liar until he isn't, he's intelligent and self aware until he's shockingly oblivious

just a ball of horrible contradictions that feels way too unstable and flipfloppy to be consistently relatable

yes of course in several moments you will exclaim "ha, he's just like me!" but it's going to be rather hard to admit that all of his experiences and actions are relatable or even compherehensible

unlike the first series it's not justifiable in any rational way

it's messy, it's complicated, it's convoluted and he's honestly awful in some scenes

but thats human too