Avatar

Things are shaping up to be pretty. odd.

@electronic-chocolate

idk just reblogging stuff about whatever I'm interested in at the moment: Doctor Who, Good Omens, Maurice (1987) 22y/o - he/they🇵🇱🇭🇺🇬🇧(🇨🇿soon)
PostsLikes
Avatar
reblogged
Avatar
thealogie

Sorry I’m contractually obligated to post every instance of early 2000s David Tennant joking that Michael Sheen should have his job

Avatar
reblogged
Avatar
thealogie

Ok you’ve heard of DT joking about Michael Sheen doctor who, now get ready for Michael Sheen joking about Michael Sheen doctor who where he’s the doctor for 3 seconds

Avatar
reblogged
Avatar
willgrahamscock

It really makes me laugh when transphobes are like "no one back in the day cross dressed or played with gender, it's just a trend" shut up look at this Lesbian couple from my home (when it used to be Kingdom of Hungary, Budapest) in 1920s who dressed in half traditional femme and masc wedding attire

Avatar
reblogged
pop-punklouis
Avatar
tizzymcwizzy

this is a poster i made for my call to action assignment in humanities! it's a bunch of basic and easy stretches for people who sit and work at a desk all day (me)

the idea is that you'd put the poster up above ur desk and do the stretches every 30 minutes or so,, the whole routine won't take more than about 6 minutes to complete and when done regularly it can prevent wrist, shoulder, neck and back pain! :)

all these stretches can be done while sitting (although i HIGHLY recommend you stand up and move around while taking a break from working)

you can get a free digital copy of this poster here on my gumroad!

#ooooh i need this
Avatar
reblogged
thealogie

Andrew Garfield as Prior Walter in Angels in America (2017) dir. Marianne Elliott

Avatar
reblogged
Avatar
qbdatabase
Anonymous asked:

do you have rec for queer books written & published before the 1980s? the older the better.

qbdatabase answered:

If you also want to see genre and what kind of rep (mlm, wlw, trans, etc), you can use the fiction database on my blog, sort by year, and see more info on each book!

Queer Fiction, 1870s - 1980

  • Carmilla by Le Fanu, J. Sheridan
  • Orlando by Woolf, Virgina
  • The Well of Loneliness by Hall, Radclyffe
  • Nightwood by Barnes, Djuna
  • Olivia by Strachey, Dorothy
  • The Price of Salt by Highsmith, Patricia
  • The Charioteer by Renault, Mary
  • Giovanni's Room by Baldwin, James
  • Another Country by Baldwin, James
  • City of Night by Rechy, John
  • A Single Man by Isherwood, Christopher
  • The Power of the Dog by Savage, Thomas
  • Patience & Sarah by Miller, Isabel
  • The Left Hand of Darkness by Le Guin, Ursula K.
  • Fadeout by Hansen, Joseph
  • Maurice by Forster, E. M.
  • William's Doll by Zolotow, Charlotte
  • Rubyfruit Jungle by Brown, Rita Mae
  • Death Claims by Hansen, Joseph
  • Dhalgren by Delany, Samuel R.
  • Troublemaker by Hansen, Joseph
  • They: A Sequence of Unease by Dick, Kay
  • The Man Everybody Was Afraid Of by Hansen, Joseph
  • Tales of the City by Maupin, Armistead
  • Skinflick by Hansen, Joseph
  • Wild Seed by Butler, Octavia E.
Avatar
#maurice#and another country#my beloved
Avatar
reblogged
Avatar
expo63

My wonderful longstanding mutual @etal-late has rightly drawn my attention to this really excellent new essay by Peter Parker in the TLS (8 Oct 2021) celebrating Forster’s Maurice at 50. [link here]

People familiar with Maurice’s pre-publication backstory and the initial (highly critical, sometimes downright perverse) reception of Maurice when it was first published in 1971 following Forster’s death may not find much that’s new here, but Parker’s essay gives an elegant, sympathetic summary, does a great job of refuting the sillier criticisms, and consider’s Maurice’s legacy today.

The TLS is paywalled, but I managed to read this free when logged in. Worth a try, or I’m sure one of us can help...

Avatar
reblogged
Avatar
morrieandlicky

All Different Endings of Maurice and Alec from E.M. Forster's Maurice

Having been to the King's College archive myself, as well as read the Abinger edition of Maurice (which examines the differences between various versions of the manuscripts stored at the archive), I can conclude that there are 3 main different versions of the novel: from 1914, 1932, and 1952-1959, each differing from one another in Forster's treatment of the relationship between Maurice and Alec after the British Museum.

1914 version:

Order: British Museum - Southhampton - Penge with Clive - Epilogue

  • NO HOTEL SCENE, NO BOATHOUSE
  1. In this version, Maurice and Alec do not spend the night together after the British Museum; Alec asks Maurice to but Maurice refuses with a long speech about how they shouldn't be together because of their class differences. So they part ways instead.
  2. Maurice, however, does go to the Southhampton to see Alec off. After not seeing Alec there, Maurice leaves with Reverend Borenius at end of the chapter directly to Penge to say goodbye to Clive.
  3. The reunion between them is implied first during Maurice's farewell to Clive—"I've wired to him (that I understand why he missed the boat)"—and then specifically illustrated in the written epilogue.

1932 version:

Order: British Museum - Southhampton - Penge with Clive

  • NO HOTEL SCENE, NO BOATHOUSE, NO EPILOGUE
  1. The British Museum chapter is pretty much the same as the published version.
  2. Maurice and Alec stay the night but there is NO hotel chapter written out. Their night together is only described in 4 lines at the beginning of the Southampton chapter as an "unwise escapade".
  3. The scene thus goes from Maurice saying "To hell with with it" directly to him at the Southampton.
  4. The end of the Southampton chapter as well as the farewell chapter with Clive conform to the 1914 version: i.e. no boathouse reunion.
  5. Epilogue by 1932 had already been disregarded by Forster, so the only clue we have to the reunion between Maurice and Alec is Maurice's line "I've wired to him (that I understand)".
  6. Therefore the 1932 version is the least hopeful in regards to the happy ending between Maurice and Alec.

1950's version:

Order: British Museum - Hotel - Southhampton - Boathouse - Penge with Clive

  1. This is basically the final and published version that we all have read.
  2. The hotel chapter was drafted out in 1952 and added to the 1932 manuscript.
  3. But it wasn't until 1958 that Forster was able to finally and fully pen out how Maurice and Alec reunite at the boathouse.

It must be noted that Forster had troubles finding a way to bring Maurice and Alec together, and in fact refused to reunite them for decades. The boathouse reunion, Alec sending a wire to Maurice, and Maurice not receiving that wire but instinctively knowing where Alec is nonetheless—all were only conceived by Forster in 1958.

Therefore—and this is really the most touching and important part—according to scholars and editors of the Abinger edition...

"now we shan't be parted no more, and that's finished" were by logic the very last words Forster had written for the novel. Alec's promise marks the end of Maurice's search for a friend, as well as the end of Forster's writing progess for Maurice. It is both a fictional and a real-life farewell.

Avatar
reblogged
Avatar
russian-blorbo-rumble

Myshkin:

  • he's just a little guy man. autism swag. mans just rocks up from switzerland after being sent there for his health and immediately comes across a bunch of people who suck. he deserves better :(

The Nose:

  • The nose is iconic. Once it gets separated from Collegiate Assessor Kovalyov’s face, it runs around St. Petersburg and even gets promoted without him. It’s likely the only sentient nose in the tournament. Also, in the Shostakovich opera adaptation, the nose blesses the audience’s ears with its beautiful tenor voice. It highlights the absurdity of status in 19th century Russian life and is one of the most well-known Nikolai Gogol characters.
Avatar
waddledeedum

if the nose doesn’t win im taking to the streets you’ll see me on the news

Avatar
reblogged
angelharry-deactivated20231101
Avatar
ladychlo
  • This is the Palestine Film Institute website, it offers free access to multiple shorts, documentaries, films etc, as well as suggestions and a long list of cinematic art made by Palestinians.
  • This is Aflamuna, a non-profit platform dedicated to sharing independent films from the Arab region with audiences worldwide. Handpicked cult, classic, contemporary, and sometimes unreleased films that are mostly inaccessible to the public are made available free of charge every week. It has one of the most impactful Palestinian movies.