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Mar of Tales et histoires...

@mar-ruiz / mar-ruiz.tumblr.com

Some lit, comics and other cool stuff. Literatura, comics y relacionados. Literature et des autres choses géniaux.
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neil-gaiman
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odonata523
Male Scifi and Fantasy writers: Look at this !Strong! female character! She can fight and solve puzzles, and ends up with the sidekick not the hero! Isn’t she a great character?
Everyone: No, she’s one-dimensional and still only exists to please the hero’s ego
Male scifi and fantasy writers: You’re never happy! This is how characters are written! Besides, it’s much harder for us to write women because we are men!
Terry Pratchett: *creates a female character who is literally the embodyment of a dog, sets her up to be the love interest of Protagonist Hero Man.* *writes her as clever, emotionally tortured, lonely and powerful* *uses her to explore difficulties of bisexuality and masculine dominated workforces*
Terry Pratchett: *Creates a pair of old witches, one of whom is a virgin and the other who has slept with lots of men.* *makes them best friends, never dismisses one lifestyle of the other, explains lifestyle choices based on characters history and personality, uses this to develop each character as the books progress*
Terry Pratchett: *Writes Sybil Rankin* *makes the powerful rich lady heavy set but beautiful, never plays her by her looks, develops her as she ages, acknowledges the way society views such people and then spits on their attitudes* *does it again with Agnes*
Terry Pratchett: *Writes a book about an entire army secretly being women, creates complex female relationships, introduces same sex relationships completely naturally*
Terry Pratchett: *takes old joke about female dwarves and uses it to explore gender identity without making it seem forced or unnatural, carefully discusses some of the issues and complextities whilst still making funny and witty observasions and maintaining genuine fantasy tropes*
Terry Pratchett: *DOES THIS ALL OVER AND OVER AGAIN, DEVELOPING CHARACTERS AS HIS VEIW OF THE WORLD DEVELOPS AND CAREFULLY APOLOGIZES FOR EARLY MISTAKES*
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odonata523

Excellent note by @spiderleggedhorse

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dduane

Terry’s writer superpower was always Thinking Things Through. All the way through.

#terry pratchett
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neil-gaiman
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best-blurst-of-times
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ironbite4

Teachers have tried this and are amazed when their classes don’t go feral like in the book.  It’s almost as if the book was supposed to be satire and not a treaty on the nature of humanity.

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thedarkbutbeige
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spaceshipoftheseus

there’s a timeskip

THERE’S A TIMESKIP

THERE’S A TIMESKIP

THERE’S A TIMESKIP

after losing control of the signal fire there’s a FUCKING TIMESKIP and when the next chapter starts everyone’s hair is several inches longer and their clothes have rotted to shreds and they’re still just kind of chilling!!!!

IT TAKES THE TERRIBLE IMPERIALISM MIND-POISONED EXCESSIVELY BRITISH BOYS IN THE ACTUAL BOOK SEVERAL MONTHS TO COMMIT A SINGLE ACT OF INTENTIONAL VIOLENCE, EVEN THE ONE (1) CHILD WRITTEN AS AN ACTUAL SOCIOPATH

AND then when they DO turn on each other it is because

THERE’S AN UNSPECIFIED WORLD WAR HAPPENING

AND A PILOT’S CORPSE CRASH LANDS ON THE ISLAND POST-DOGFIGHT AND THE CHILDREN MISTAKE THE PARACHUTE FOR A MONSTER AND SPIRAL INTO PARANOIA

BECAUSE CHILDREN INHERIT THE LEGACY AND TRAUMA OF VIOLENCE FROM THE ADULTS WAGING WAR AROUND THEM

HURR DURR IN THE REAL WORLD IT WOULD NEVER HAPPEN LIKE IN LORD OF THE FLIES -

IT DIDN’T HAPPEN THAT WAY IN LORD OF THE FLIES EITHER YOU JUST HAVEN’T READ IT SINCE HIGH SCHOOL IF EVER AND DON’T REMEMBER WHAT ACTUALLY HAPPENED IN THE GODDAMN BOOK

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randomslasher

#tbf the dude wrote it to be a dick

yes. yes he did. i’m also gonna direct you to the real life ‘lord of the flies’ which occured in the 1960s, when six tongan schoolboys got stranded on a desert island for over a year before being rescued by an australian fisherman (who, it should be noted, later took on all six as crewmembers because the reason they were out in the first place was because they wanted to see the world, and named his ship the Ata after the island they were stranded on). nobody died. the only injuries that occurred were accidental, and when one of the boys broke his leg falling down a cliff, the others braced it and looked after him so well that it healed perfectly. if they argued, then they would literally go to opposite sides of the island until they’d cooled off. after leaving the island, they remained friends for the rest of their lives. here’s a photo of them as adults, with their rescuer (who is third from the left) and other members of his crew.

i read about this in rutger bregman’s human kind, a book i cannot recommend highly enough, but if you don’t want to go and read a whole book about the inherent goodness of humanity (which again, you really should) then the relevant excerpt can be found here.

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mar-ruiz

why the case of lord of the flies underestimates real humans

#lord of the flies
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Cormac McCarthy, The Art of Fiction No. 223

This piece is fictional, and intended purely as a parody. It is not intended to communicate any true or factual information, and is for entertainment purposes only.

Interviewed by Bunny Truman

See more from our new Easter issue.

INTERVIEWER

What time of day do you write?

MCCARTHY

I rise at six and work through the morning, every morning, seven days a week. I find the sun has a forlorn truth before noon. The words come unbidden. By early afternoon I have to quit.

INTERVIEWER

Do you find that the intensity of the material makes it difficult to continue beyond a certain point?

MCCARTHY

No, it’s not that. I entertain most nights. In the afternoon you wear the mud mask of your being. And then the guests arrive and you are a new thing. It is the unspoken promise of nightfall. It takes time. Time that hunts you, time that is calamity.

INTERVIEWER

These are dinner parties.

MCCARTHY

Barbecues, mainly. And this is part of it. Calling the dogs in, all limbs and sinew, the vermicular homebound patterns they weave in the scorch of the grass. The glint of the grill in the sun’s fire ellipse, its entirety as it bends toward hyphenate unyielding horizon. I like to soak the mesquite chips for at least half an hour. Then there’s the marinade for the brisket, or the dry rub, the laying on of hands. A replication of primeval violence. In your fingertips the harm of generations, the wish to make right, the failure to cleanse and absturge. Raw matter. Chile ancho, dried chipotles, paprika and salt, pulverized plant and rock, the sad spice and crumble of the earth’s red crust. I put the beef in a plastic bag for two hours before my guests come.

INTERVIEWER

Your guests—these are other writers?

MCCARTHY

The meat is all talk. It murmurs and sibilates. We stand and watch the conflagration of charcoal. The flame maze, the char, the sauce and slaw. In the glowing embers of the mesquite, the old dead wood, you see the incipient sting of godlessness. The smokehouse and the smoke and the burn in your eyes with which to fever it.

INTERVIEWER

Would you say these gatherings have a profound effect on your writing?

MCCARTHY

They are my writing.

INTERVIEWER

What advice would you give, then, to aspiring writers, especially those—and there are many, by now—who don’t wear your influence lightly?

MCCARTHY

Towelettes. Moist towelettes.

To read the rest of this piece, purchase the issue.

https://www.theparisreview.org/the-art-of-fiction-no-223-cormac-mccarthy

#cormac mccarthy#writer's advice#paris review