Now Say It With Me: Authors/artists Dont Owe You Moral Purity. An Author/artist Job Is Not To Hold You

i know i've said this before but i'm going to say it again because the more i work with geriatric women the stronger i feel about the fact that the only anti-aging that women in their 20s/30s should be obsessed with is building strong bones and muscle mass. that's like the most important thing you can you can do right now to lay a good foundation for healthy aging. you can botox the shit out of your face but that's not going to do anything to save you from dying prematurely from a fatal hip fracture that you can't bounce back from because you didn't do anything to prevent yourself from becoming frail and breakable. like i know that sounds harsh but that is reality for a lot of older women and i don't want that to be you.

seeing a cover i drew at the library is so wild lmao

WAIT 3 PEOPLE IN LINE??? Feeling a lot of pressure ;0_0 sorry to the people in the queue behind me. im reading so slowly rn

I'm so fascinated by languages with different levels of formality built in because it immediately introduces such complex social dynamics. The social distance between people is palpable when it's built right into the language, in a way it's not really palpable in English.

So for example. I speak Spanish, and i was taught to address everyone formally unless specifically invited otherwise. People explained to me that "usted" was formal, for use with strangers, bosses, and other people you respect or are distant from, while "tú" is used most often between family and good friends.

That's pretty straightforward, but it gets interesting when you see people using "tú" as a form of address for flirting with strangers, or for picking a fight or intimidating someone. In other languages I've sometimes heard people switch to formal address with partners, friends or family to show when they are upset. That's just so interesting! You're indicating social and emotional space and hierarchy just in the words you choose to address the other person as "you"!!

Not to mention the "what form of address should I use for you...?" conversation which, idk how other people feel about it, but to me it always felt awkward as heck, like a DTR but with someone you're only just becoming comfortable with. "You can use tú with me" always felt... Weirdly intimate? Like, i am comfortable around you, i consider you a friend. Like what a vulnerable thing to say to a person. (That's probably also just a function of how i was strictly told to use formal address when i was learning. Maybe others don't feel so weird about it?)

And if you aren't going to have a conversation about it and you're just going to switch, how do you know when? If you switch too soon it might feel overly familiar and pushy but if you don't switch soon enough you might seem cold??? It's so interesting.

Anyway. As an English-speaking American (even if i can speak a bit of Spanish), i feel like i just don't have a sense for social distance and hierarchy, really, simply because there isn't really language for it in my mother tongue. The fact that others can be keenly aware of that all the time just because they have words to describe it blows my mind!

Cinderella rewrite where Cinderella’s father is an unusually successful fisherman due to his secret friendships with the shy and mysterious mermaids, successful enough to attract a moderately wealthy and ambitious bride with two daughters. Once he dies, her stepmother, determined to make sure her daughters inherit the fishing business as dowries by marrying before Cinderella, forbids her from going out on the fishing boats or into town and makes sure she spends as much of her time as possible doing drudgework, hauling offal and cleaning fish. When the Prince’s ball comes around, an important occasion for young women to make good connections, the stepmother forbids her from going, telling her that she needs to get the latest salmon catch gutted and ready for sale instead.

Cinderella’s mermaid godmother calls upon her people to clean the fish and gifts her a dress and shoes of shimmering fish scales that wreathe her in rainbows under the moonlight. She makes an impression on the Prince at the ball so strong that he immediately falls in love with her, and when she’s forced to flee before her stepmother notices her (no masquerade mask or dancing rainbows will disguise her from her own family at close range), the Prince is left with only a delicate fish leather slipper left on the front steps to try to find her again.

He goes around the houses, seeking the owner of the slipper, but Cinderella is once again working in the fish sheds. He stepmother, desperate and determined and having found Cinderella’s other shoe that very morning, realises what has happened and takes a knife to the feet of her prettiest daughter, telling the prince that she suffered an injury that very morning but those are definitely her shoes, see, here’s the other one, and they still fit.

The daughter is pretty and witty and charming, and while the Prince doesn’t feel the same spark and instant sense of connection that he did at the party, he reasons that she’s overwhelmed and in pain and once she’s healed, all will be well. There are no birds to whisper of blood in the shoe – the Prince has seen the bandaged feet already – and the daughter slips on the shoes (the only shoes she has that will fit her, now,) and accompanies him to the palace.

But the stepmother is no doctor, and by the time the Prince gets her to the palace doctors, it’s too late – his beloved has contracted an infection in her feet from the shoe leather, made unclean in its travels. She will survive – it is an infection of a common filth of fish and birds, one that the doctors have potions for for the occasions where dangerously cooked food causes outbreaks – but in her raving, she confesses the whole scheme to the Prince who, furious, returns to the village to find the girl he truly fell in love with, the girl hidden from him.

“Oh, yeah, the fish cleaner,” the villagers shrug. “We don’t see her around very much, she’s probably in the sheds. Her family calls her Salmonella.”

Unique vintage male names, companion to this post:

There are less of them because people seemed to be less creative with naming their sons. Not sure why.

“Pratchett went back to older throwaway jokes (like dwarves being apparently unisex) and used them as metaphors to discuss social change, racial assimilation, and other complex issues, while reexamining the species he’d thrown in at the margins of his world simply because they existed at the margins of every other fantasy universe. If goblins and orcs and trolls could think, then why were they always just there to be slaughtered by the heroes? And if the heroes slaughtered sentient beings en masse, how heroic exactly were they? It was a long overdue start on redressing issues long swept under the rug by a parade of Tolkien successors who never thought of anyone green and slimy as anything but a notch on the protagonist’s sword, and much of the urgency in Pratchett’s last few books seemed to be related to them. “There’s only one true evil in the world,” he said through his characters. “And that’s treating people like they were things.” And in the last of his “grown-up” Discworld books, that idea is shouted with the ferocity of those who have only a few words left and want to make them count. Goblins are people. Golems are people. Dwarves are people, and they do not become any less people because they decide to go by the gender they know themselves to be instead of the one society forces on them. Even trains might be people, and you’ll never know one way or the other unless you ask them, because treating someone like they’re a person and not a thing should be your default. And the only people who cling to tradition at the expense of real people are sad, angry dwellers in the darkness who don’t even understand how pathetic they are, clutching and grasping at the things they remember without ever understanding that the world was never that simple to begin with. The future is bright, it is shining, and it belongs to everyone.”

— John Seavey, The Evolution of the Disc (via pornosophical)

Discussions of what "counts" as "canon" queer representation fall apart the second you start talking about media older than about five years or so. If your only metric for "canon queerness" is a character looking directly into the camera and explaining their identity in specific, modern, US-American-English terminology, you're not going to get a good picture of what queer media looks like. If your barometer for what counts as "canon" requires two characters of the same gender to kiss on-screen, you're not going to get a good picture of what queer media looks like.

Dr. Septimus Pretorius (portrayed by Ernest Thesiger in 1935's Bride of Frankenstein) was never going to look directly into the camera and explain his sexuality in 2024 terms, but he remains an icon in queer media history. You cannot look at that character (blatantly queer-coded in the manner of the time, played by a queer man in a film directed by another queer man) and tell me that he isn't a part of queer media history.

To be honest, even when discussing modern queer media, I would argue that the popular idea of what "counts" as "canon" is very narrow and flawed. I've seen multiple posts in the past few days that say the Nimona movie is "implied" trans representation, and I just...no, y'all, it's not "implied," it's an allegory. The entire damn movie is about transgender struggle, and the original comic is deeply tied into N.D. Stevenson's own queer journey. It isn't subtle. You cannot look at that movie and pretend that it isn't about trans struggle. It's blatant, and to say that Nimona "isn't canonically trans" is a take that misses the story's entire message, and the blatant queerphobia that almost kept the movie from happening. (I wrote a five thousand word essay about the topic.)

Queer themes, queer coding, queer exploration, and queer representation can all exist in a piece of media that doesn't seem to have "canon queer characters" on the surface. Most queer characters are never going to be able to explicitly state their specific identity labels, be it due to censorship or just due to the fact that scenes like that don't fit in some narratives. Some stories aren't conducive to a big "so what's your identity?" scene.

Explicit, undeniable, "this is my identity in no uncertain terms" scenes are very important and radical, and I'm not saying they shouldn't ever exist. I am saying that you can't consider those scenes the only way for queerness in a piece of media to be "canon."

Also. ALSO.

Plot…and action…are DIFFERENT THINGS. 

I’m making up assignments from when I was woefully ill a few weeks ago, and that was a week of amazing readings, one of which laid out this very thing. Actions are the concrete events that happen, while plot is the non-concrete, the thematic - what changes. You can explain the plot of a story without even touching on the individual actions within it.

Actions: John Watson awakes from nightmares of the war to a small, bleak rental room. His therapist presses on what he’s written on his blog, and he says nothing interesting ever happens to him. John meets an old friend in the park, his friend takes him to the lab at St. Barts where he introduces him to Sherlock Holmes, a genius who needs a roommate. When John goes to see the flat, Sherlock takes him along to a crime scene to which he’s been summoned by the Met. Blah blah blah etcetera, John figures out who the killer is just in time and races to the scene, shooting the cabbie before Sherlock can take the potentially poisoned pill. They walk off together, talking about dinner.

Plot: Veteran John Watson is struggling to adjust to civilian life until he meets Sherlock Holmes, the world’s only consulting detective, who offers him reason to live - the war against crime being waged on London’s streets - and a friendship that will define them both. 

The first is a point by point description of what happens; the second is the heart of the story - why what happens matters - and it’s a bit more wibbly wobbly and open to interpretation. A good fic summary, story pitch, movie review, etc. focuses mainly, if not entirely, on the plot and not the actions.

I was talking about this with a writer-friend, and we sat in her parked car for like five minutes miming head explosions at each other and going, “HOLY CRAP. THEY’RE DIFFERENT” and “I KNOW, RIGHT?” and “I NEVER THOUGH ABOUT IT BEFORE” and “I KNOW, RIGHT.”  So, yeah. Actions and plot. Different things. I’m going to want to kiss that essay on its stupid essay face the next time I’m writing a plot summary.

Mattresses, unbeknownst to many, are a lot like cars. Every year new ones roll out, they’re always tweaking and innovating and you’ll never find the same one you loved decades ago when buying a new one.

Where I sold mattresses had a three month return or exchange program for this reason. New beds take a while to break in, and they’re a big expense. Your body is used to the old one. So we made sure people were loving it. If a bed got returned we’d take it back, sanitize and clean it, then sell it again on clearance.

To sell these we always had to disclose what clearance meant to customers, and they had to sign that they knew what they were getting. (FYI, not every company is as… forthright about the used bed situation)

In clearance we had beds that were floor models, we had returns, and more rarely we had old models whose line had been discontinued. These clearance beds were always final sale, so a bed could only be sold twice.

Now, the manager at the store I was working at had realized a vital fact. Clearance beds in the warehouse didn’t sell, especially old models that salespeople weren’t familiar with. And even more especially in odd sizes, like twin extra longs. So he set up a split king on the showroom floor to exhibit clearance beds, pulling all those forgotten twin extra longs out onto the showroom.

Almost all of these were brand new discontinued models. Beds I’d never learned in training were exhumed to be displayed. The manufacturers had moved on to new lines and they’d been left behind. Why would he take such in interest in selling old stock, you might wonder? Because we made double commission on the sales margin of clearance beds, and if we’d had a bed long enough they dropped the cost in the system so it was a fucking cash cow to sell these. Even with huge discounts the commissions were wonderful so it was a win win.

When I got started I was jazzed about this program, I was so on board to sell weird old brand new beds and make a ton of money. I had a wonderful older couple come in, looking for a split king adjustable set. This was a white whale sale.

The current clearance models on the floor were a latex mattress that was brand new despite being of an age to start first grade, and a tempurpedic floor model. The couple laid down and it was like magic. They each loved the bed they’d laid down on. They wanted to buy the whole shebang.

I. Was. Thrilled. I told them about the clearance program and what that meant, and they weren’t bothered in the least. I wrote up the sale then dashed into the back, fizzing with excitement to tell my manager what I’d done.

“You sold the death bed?!” He asked in delight.

I pulled up short, my smile freezing in place. “What…?”

“Didn’t you check the notes?”

I hesitated for a long beat then slowly shook my head. You see, dear reader, all beds had a personal history. Every clearance bed had logs written up by the person who took the return, as well as warehouse crew after sanitizing. It helped us know what to expect when selling them. “Wasn’t it just a floor model? You said it was a floor model…”

He slowly shook his head. I checked the notes.

It turned out, it had been sold as a floor model. The first time. But the company had made an exception and taken it back as a return two months later. Why? Because it’s owner had passed away.

I stared at the computer in horror and my manager shrugged. “They signed the clearance form. Technically it was a floor model.”

“We know for a fact that a man died in that bed!”

“What they don’t know can’t haunt them,” he said philosophically.

The man came back a week later for more sheets, utterly delighted to tell me how well they were sleeping. I clamped my teeth down around the secret of the deathbed, choosing to let them love their new bed without the stigma. Only one person would be haunted by that deathbed, and it was me.