identity creation

down in the riveri’ve seen the water rolling; i’ve seen the colours fade away. [a mix for river worship and walking the pathway of water.]

01. riverside – agnes obel 02. the deep – dawn richard 03. the runner – positively dark 04. lady jane – mika 05. hold back the river – james bay 06. come away to the water – maroon 5 feat. rozzi crane 07. sanctified – the veronicas 08. cmr – general fuzz 09. the river – imagine dragons 10. i follow rivers – lykke li 11. nothing but the water, pt. 1 – grace potter & the nocturnals 12. watermark – enya 13. down to the river to pray – alison krauss 14. to the river – down like silver

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9

“Backyard Apartments

We were approached to develop a campaign appealing to both the Gen Y demographic, as well as the savvy investor. Located at 321 La Trobe Street, the site initially offers a fairly standard idea of inner city living. However, take the next left at Flanigan Lane and a new world opens up…

A labyrinth of lane ways that feed into Melbourne’s hidden treasures; one-off shops, markets, art galleries and bars that are in the very centre of the city, yet remain decidedly off the beaten track…

This is the backyard.”

“And Do as you will,  and Harm None, is the whole of the law”, is what deep esoteric believers have said is their one law that they go by. In all religions, they say something similar, as well. If this is the “whole of the law”, then why do many hurt one another still? They say hurtful things, they steal original ideas, identities, and creations from their fellow man, and they use spirit, to get to where they wish to go. Those things harm others. The karmic law states that if you hurt another soul, to help yourself, it is a karmic transgression. If everyone lived by the law of karma, to not hurt anyone in any way, this world would be a much better place.

anonymous asked:

Hi ! I don't see anyone talking about this. Do you think that we'll find out Rey's actual name is the last jedi or episode IX ? Or do you think she'll go by Rey the whole trilogy and maybe we'll find out her name is a book ? Or maybe Rey's her real name..I doubt it though.

What an interesting ask! Honestly, I’d be willing to bet we find out what her real name is, in some context — names are a pretty strong narrative thread in the new trilogy. Look at Ben and FInn, for instance. Ben Solo utterly forsakes his given name and identity and adopts the moniker of Kylo Ren and the darkness that comes with it. FN-2187 has only the identity and name he was given and gains a new life with a new name and the chance to forge an identity of his own creation. 

Rey, for her part, is strongly implied to have gotten her name from Dosmit Raeh, the crashed pilot whose ship sustained her as a child. There’s symbolism in that as well: an abandoned (nameless?) child forging her own identity, her own life, and adopting the name of the woman who saved her, in absentia

It might be interesting to see if Rey’s first name also carries some narrative weight or gives us some insight into her identity. Right now it seems like the big question concerns her surname/lineage, but it’d be a very interesting twist if her real first name were something that indicated her original identity as well. 

The interest I have, as both a Scot and an Arab, is not in the utopian revival of a romanticised past, nor the retreat into some monolithic cultural or racial identity. The creation of a truly democratic, classless world - one which provides the material possibility for both difference and community, and not just the commodification of either - is far more important to me.

i know you’re goldand i love you like a mountain. [a mix for ogma the sun-faced.]

01. southern sun – boy & bear 02. wordplay – jason mraz 03. tell me baby – red hot chili peppers 04. the warpath – conner youngblood 05. blood on my name – the brothers bright 06. demons – imagine dragons 07. daylight breaks – cassidy haley 08. lullaby – loreena mckennitt 09. kill your heroes – awolnation 10. daylight – coldplay 11. like a mountain – timbre timber 12. lying in the hands of god – dave matthews band 13. hideaway – kiesza 14. young volcanoes – fall out boy 15. gold – owl city 16. safe and sound – capital cities 17. gold on the ceiling – the black keys

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“Rebel Rebel”: Strange Heroes and Pop Songs: David Bowie and Alternative Public Spheres

By: Alyssa E. Logie 

“At the level of everyday life, music has power … Music may influence how
people compose their bodies, how they conduct themselves, how they experience
the passage of time, how they feel—in terms of energy and emotion—about
themselves and others, and about situations”.

                                                                            –Tia DeNora

       Popular music can and has led to the formation of alternative public spheres, and can facilitate public debate regarding dominant ideologies and other political matters. David Bowie is a prime example of how popular music can successfully provoke public deliberation that questions dominant and hegemonic understandings of gender, sexuality and identity through the creation of an alternative public sphere. Through the images and music of the popular artist David Bowie, this paper will challenge Jürgen Habermas’ notion of a bourgeois public sphere, his emphasis on rational-critical public debate, and his negative view of mass-mediated culture’s implications for public political debate. Contrary to Habermas’ proposal of rational-critical debate within a bourgeois public sphere as the key to a democratic society, the mass-dissemination of David Bowie’s popular music can be used to facilitate public debate about key societal issues—such as gender, sexuality and identity— through the formation of an alternative public sphere.

        In his early work, Habermas describes how critical public opinion is essential to the functioning of democratic society. He described a discursive space “between the state and privaterealm of civil society” that generated communicative action (Thompson 1990: 110). This was the idealized bourgeois public sphere of the seventeenth-century to the first half of the nineteenth-century. This bourgeois public sphere was a social space where private individuals could come together as if equals, and debate the regulation of civil society and the conduct of the state (110). Habermas described how coffee houses and salons were public spaces where these private individuals could come together and discuss issues that were outlined in political journals (Petley 142). He felt this kind of public debate was the ideal communicative rationality that was essential for the proper functioning of democratic society (141). In this view of the public sphere, popular culture texts that are creative rather than rational in nature are not seen as good resources for the facilitation of public debate; only rational forms of communication are considered ideal for communicative action.

        Habermas describes how the increased public power of private institutions and their intervention in political processes led to the “re-feudalization of the public sphere” in the second half of the nineteenth-century, whereby the public sphere came to resemble the court culture and representative publicity of the European Middle Ages (Thompson 1993: 175). Habermas is concerned that mass-mediated culture helps to “depoliticize public communication”, and that the intersection of fact and fiction in mass media is a threat to the public sphere (Petley 149). He does not believe that entertainment literature can contribute to public debate for the promotion of democracy. In his eyes, mass media only contribute to the re-feudalization of the public sphere and create a “sham world of image creation” (Thompson 1993: 178). He felt that “the world fashioned by the mass media is a public sphere in appearance only” (Habermas 1989: 171). He promotes rational critical debate within a bourgeois public sphere as the best means for public debate within democratic society. However, mass media and popular culture can have positive contributions to the notion of the public sphere. Mass media, if harnessed properly, can widely disseminate ideas that challenge ideological norms and can create new alternative public spaces. It is important to recognize that political struggle has shifted to the “cultural sphere”, whereby important political debates can be realized through texts of popular culture—specifically, popular texts that challenge dominant ideologies and norms (Garnham 1992: 204). Through the mass-mediation of popular culture, a massive number of people can be addressed, “creating an associational life in which participants explored the complexities of civil society” (Kramer 150). Popular culture texts, such as the music of David Bowie, should not be ignored because there is an “indissoluble link between the institutions and practices of mass public communication and the institutions and practices of democratic politics” (Garnham 1992: 260).

        Public spheres should be an “ideal type against which we can judge existing social arrangements” (Garnham 2007: 203). David Bowie as a popular music artist did exactly this. His images and songs can be seen as a “cultural policing mechanism”, specifically in terms of gender relations and sexual difference (203), because Bowie portrayed counterhegemonic representations of gender, sexuality and identity through his ever-changing personas and musical styles. For teenagers and twenty-somethings in the 1970s and early 1980s, “he was the only rock star who really mattered in the UK” and was perhaps the “most written about pop star” (Rüther, et al. 3). This is because he challenged the dominant ideologies depicted by other popular music of this time, and appealed to people who felt as though they were outside of the dominant mainstream culture. He drew upon an eclectic range of influences in the 1970s, such as “gay liberation, the Beat Poets and rock-subcultures” to pervert prevailing male heterosexual dominance portrayed in most popular music (Stevenson 2009: 79). David Bowie “interrogated accepted stereotypes that have symbolic meaning… those archetypes which help form the narratives that underpin our culture” (Buckley 14). In the 1970s, Bowie had three appearances on Top of the Pops on BBC, a television station that was the “staple of every teenager’s Thursday night” (3). These performances were crucial to the mass-dissemination of Bowie’s counterhegemonic image and music, and signify the moment when Bowie publically became a part of the “collective teenage consciousness” (3). Bowie’s 1972 performance of his song “Starman” on Top of the Pops was quite shocking to viewers of the show: Bowie appeared in a tight sparkly costume, with a red mullet and makeup, and danced closely with his male bandmate. He was performing as the genderless Ziggy Stardust, representing an androgynous Martian of Rock (Rüther, et al. 6). Ian McCulloch of Echo and the Bunnymen recalls this ground-breaking televised performance: “All of my other mates at school would say ‘Did you see that bloke on TV? He’s a right faggot him’. And I remember thinking, ‘You Pillocks’…it made me feel cooler” (Buckley 4). As seen in McCulloch’s testimony, people began to publically deliberate traditional gender norms as a result of Bowie’s image creation. These gender-bending representations during his “Ziggy-era” provided public displays of alternative genders and sexualities that led to wide public discussions of Bowie’s unorthodox performances, as well as non-normative sexualities and genders.

       In January 1972, Bowie publically announced during an interview that he was gay—even though he was married to a woman and had children. This announcement was quite controversial, as not many celebrities were openly gay at the time. Even Elton John, who is now openly gay, was “at pains to hide his homosexuality from his fans and the media” (Buckley 72). Michael Watts, who had conducted the interview, stated: “I think he said it deliberately… He was certainly aware of the impact it would make…I was aware of a changed mood towards gay people, not just in rock, but in culture as a whole” (72). David Bowie’s alternative representations of sexuality in the mass media were facilitating public debates about normative sexuality, and contributed to the acceptance of non-normative sexualities in society. Identification with Bowie’s star-image helped foster explorations of alternative genders and sexual identities—even some of his male fans felt comfortable publically expressing sexual feelings for other men because of Bowie’s public openness (91). 

       Habermas is concerned that modern forms of spectacle disseminated through mass media are produced such that they privilege dominant political ideologies and actors (Petley 149). This means that collective actors operating “outside the political system…have fewer opportunities to influence the content and views presented by the media (Habermas 1996: 337). However, David Bowie’s alternative representations of gender, sexuality and identity allowed marginalized groups to be publically displayed. Bowie even directly addressed issues of gender-fluidity in his lyrics: “You got your mother in a whirl/She’s not sure if you’re a boy or a girl” (“Rebel Rebel” 1974). This is a crucial example of how mass-mediated popular culture can function as a positive contribution to democratic society through the representation of alternative identities and the creation of public debate regarding dominant ideologies. Such alternative representations provide a space for actors who fall outside the dominant political system to be represented and heard, and “for those unsure about their sexuality, or who were in agonies about ‘coming out’, Bowie at least let them know that someone (and someone talented and cool to boot) was listening” (Buckley 5).

        David Bowie facilitated the formation of an alternative public sphere through his images and music. This alternative public sphere can be referred to as what Nancy Fraser calls a “subaltern counterpublic” (Fraser 67). Fraser describes how Habermas’ idealized bourgeois public sphere excludes members of subordinated social groups, including those who do not conform to normative genders, sexualities and identities. The counterpublic created through Bowie’s public representation of alternative identities offers a “discursive arena where members of subordinated social groups invent and circulate counterdiscources”, allowing for the formulation of “oppositional interpretations of their identities, interests and needs” (67). The idea that ‘fans’ represent an “alternative cultural space” is evident here (Stevenson 2009: 80). Fraser argues that a plurality of public spheres—as opposed to Habermas’ singular public sphere— is necessary for the proper functioning of democracy (68). Subaltern counterpublics allow minorities to “convince others that what in the past was not public in the sense of being a common concern should now become so” (71). David Buckley recalled that “for all of those who felt lost, disenfranchised, alone or sad, Bowie acted out as pop therapy (Buckley 13). Bowie offered this sense of belonging for marginalized groups through his lyrics: “…you’re not alone… Gimme your hands, cause you’re wonderful” (“Rock’n’Roll Suicide” 1972). Consequently, Bowie’s music seemed to be able to “link private, intimate encounters to larger public, collective concerns” (Kramer 153). The ‘personal’ issues of marginalized groups were now being publically brought to the forefront of political discussion. All of the shock, outrage and outreach that dominate Bowie’s music “comes from the predicament of this liminality; from not fitting in, from wanting to be different, from being brought up in a climate of suburban conformity, and from wanting to belong…” (Buckley 14). Bowie’s music provided people who did not conform to normative identities with public representations that connected them together as a subaltern counterpublic. Nick Stevenson wrote that “what really fired [Bowie] was the desire to be different, radically different, to challenge and overturn both the dominant musical conventions and the moral and sexual codes of his day” (Stevenson 2009: 99). These desires were passed along to his fans who came to constitute an alternative public sphere.


       When approaching public sphere theory, it is important to remember that the underlying focus should always be “solidarity among strangers” (Garnham 2007: 208). David Bowie is an example of how “engagement with popular texts can help foster a diversity of interpretive communities” (Stevenson 2009: 81). The mass-dissemination of Bowie’s works creates a sense of community among fans and establishes the capacity for communal connection that is not centrally located in time and space (Kramer 151). Even though Bowie’s fans were not always centrally located in time and space—although they were during concerts and other fan events—there was still a sense of community among them. A Bowie fan said: “you go see Bowie, you see different sets, different levels, different audiences… taking the CD home with you, listen to it at home and you think, I know there are some other Bowie fans out there doing the same” (Stevenson 2009: 81). Marshall McLuhan refers to this mass-cultural experience as a new kind of publicness called the “global village” (Kramer 158). In this view, if the mass media is properly harnessed it can “foster rather than destroy community necessary for flourishing democratic public life (158). Bowie’s works are a “mass-cultural form of art capable of circulating widely” and, unlike Habermas’ centralized public sphere, “provided multiple entrances into communal connection and shared inquiry” (159). The shared passion for Bowie holds the community together, and the “intense scrutiny of representations of Bowie and his music” appears to provide fans with a “reflexive resource they can call upon in different periods of their lives” (Stevenson 2009: 82). Through reading interviews, listening to his music and looking at images of Bowie, his fans have converted him into a “cultural resource” capable of creating public debate and discourse about issues of identity, sexuality and gender, as well as other political matters (82).

       Habermas is often criticized for under-estimating the ability of audiences to “relate to the media in an active and critical fashion” (Petley 146). In Habermas’ view, the media became a means by which the public was “manipulated and duped” (143). This is not the case with David Bowie, as his works offer an “expressive experience capable of sparking civic engagement” (Kramer 152). His alternative representations do not reproduce normative representations of gender, sexuality and identity commonly depicted in popular culture—they question them. Audiences of David Bowie cannot ignore his obvious critiques of normative identities. Bowie provides “art as experience” than can “transform tyrannical forces of mass society into a more democratic public life” (153). The alternative public sphere that arises from Bowie’s imagery and music is what James B. Thompson refers to as “intimacy at a distance”, whereby the relationship to the celebrity is “non-reciprocal and depends upon the scrutiny of the celebrity by the audience and not the other way around” (Stevenson 2001: 81). As such, Bowie’s fans are not passive consumers of popular music, as Bowie provided opportunities for critical reflection on his spectacular imagery and music. David Bowie’s spectacles do not function to manipulate audiences; they engage them in critical public discourse about oppositional understandings of gender, sexuality, identity and other political issues.

       Bowie’s image and music were constantly changing; he was purposely modeling and remodeling his identity through various musical personas. Contrary to Habermas’ warnings of mass-mediated spectacles and image creation, Bowie’s purposeful image creation had a self-reflexive quality: his ever-changing images and music draw attention to the artifice and image management of other popular culture texts, and function as a critique of hegemonic ideologies expelled by commercial music. As such, his alternative representations of gender, sexuality and identity reveal the underlying dominant ideologies behind other popular music and commercial texts (Auslander 72). Nick Stevenson describes how in contrast to men’s magazines, which are fairly conservative in terms of their gender politics, “David Bowie’s image (particularly in the 1970s, at the height of his fame) and well-published bisexuality, have been seen by many as offering an alternative to the hegemonic masculinity of this period” (Stevenson 2009: 81). Bowie also starkly contrasted other popular music due to his public displays of gender and sexual fluidity, as opposed to the normative masculine heterosexuality of mainstream popular acts of the time, such as The Osmond Brothers and The Bay City Rollers. Bowie fans soon thought of themselves as “a race apart” and regarded him as a “serious artiste” (4). Bowie appealed to people who “never felt happy with mainstream devotion” (4).

        Habermas was hesitant about the mass media’s influence on public debate because it came to service market-place interests more than public interests; however, while this may be true for many popular culture texts, what Bowie was doing was “not simply being a commercial entity himself, but showing that all popular rock was commercially based” (Buckley 104). Bowie calls attention to this in his song “Changes”, released in 1971, saying: “Look out you rock’n’rollers”, and: “So I turned myself to face me/But I’ve never caught a glimpse/Of how the others must see the faker/I’m much too fast to take that test”. As such, “Changes” includes three of the most important attributes of Bowie’s stardom: themes of alternative identity, the mutability of character, and a sense of play with first and third person (106). The song alludes to the artifice of commercially produced pop and rock music, and functions as a precursor to Bowie’s Ziggy Stardust persona, where he would play with alternative modes of identity, sexuality and gender in more public and concrete ways. Bowie’s alternative representations that break free from hegemonic norms are essential in differentiated his work from other commercially-produced media. His works engage the public in critical discourse, and are not
merely spectacles of manipulative entertainment. Bowie’s music opens up a space where “minds are engaged but not taken over” (Kramer 151).

       Habermas has been criticized for having a focus that is too narrow, as he focuses exclusively on forms of rational-critical debate, while ignoring “articulations of social issues in fictive forms” (Petley 146). However, it is important to analyze the ways in which popular music resonates emotionally with fans, and can create “intense waves of feeling and affect that unsettle dominate masculine culture” that is typically based upon “rationality, self-control and the ability to keep emotions in check” (Stevenson 2009: 80). The emotional quality of David Bowie’s music and imagery undermines the ideal communicative rationality that Habermas says is essential to the public sphere. Habermas’ public sphere is criticized for being exclusively masculine, as rational forms of deliberation are historically linked to masculinity (Fraser 60). Bowie’s emotional qualities allow men to deliberate in ways that are not strictly rational, and breaks down the stereotypical understandings of men as rational, and women as emotional. As such, Bowie represents a genderless, emotional figure capable of facilitating public debate for both men and women. In contrast to the rational communication that Habermas promotes, the intense emotion of David Bowie’s music and images can also function to create public concern for political issues. For example, David Bowie’s song “Heroes” is a fictive account of two lovers on either side of the Berlin Wall. After Bowie passed away in January 2016, The German Foreign Office publically thanked him for “helping to bring down the wall” during his stay in Berlin in the 1970s when he had produced the album Heroes. They had tweeted: “Good-bye, David Bowie. You are now among #Heroes. Thank you for helping to bring down the #wall” (GermanyDiplo). This example shows how fictive forms that articulate social issues—even those expressed through popular music and disseminated through mass media—can help create public debate and contribute to real political action.

        In his later works, Habermas revised some of his ideas about the public sphere. He came to see the public sphere as much more “differentiated and pluralist” and accepted the possibility of a “range of publics”, including alternative publics (Habermas 1996: 373). He even discussed “abstract” publics of readers, whereby viewers and listeners are “brought together, albeit at a distance, by the various media” (Petley 148). This can be related to the communities of fans and the subaltern counterpublics produced by the mass-dissemination of David Bowie’s works. However, Habermas is still critical of the role of media in the public sphere. Regardless, from this paper’s discussion of David Bowie as a popular artist, it can be seen that popular culture and mass media, if harnessed in ways that question dominant hegemonic ideologies, can function in the interest of the public. As a cross-generic, gender-fluid, pan-sexual, Bowie was playing around with the very fabric of how we make sense of what is around us. For many, listening to Bowie was a way of exploring imaginative alternatives to a world of rules and regulations and cultural norms (Stevenson 2009: 90). He is an example of how the political can transcend the boundaries between the “serious’ and the “popular”, as well as “public” and “private” (91). David Bowie reminds us to “turn and face the strange” by looking at alternative modes of representation that can spark critical public debate within alternative public spheres (“Changes” 1971).


Works Cited
Auslander, Philip. Performing Glam Rock: Gender and Theatricality in Popular        Music. Ann Arbor, MI: University of Michigan Press, 2006. Print.

Buckley, David. Strange Fascination: David Bowie, the Definitive Story. London: Virgin, 2001. Print.

DeNora, Tia. Music in Everyday Life. Cambridge: Cambridge UP, 2000. Print.
Fraser, Nancy. “Rethinking the Public Sphere: A contribution to the critique of actually existing democracy”. Social Text. Print.

Garnham, Nicholas. “Habermas and the Public Sphere”. Global Media and Communication 3.2 (2007). Web.

Garnham, Nicholas. “The media and the public sphere”. Habermas and the Public Sphere. C. Calhourn (ed.), Cambridge, MA: The MIT Press, 1992. Web.

Habermas, Jürgen. Between Facts and Norms: Contributions to a Discourse Theory of Law and Democracy. Cambridge, MA: The MIT Press, 1996. Print.

Habermas, Jürgen. The Structural Transformation of the Public Sphere: An Inquiry into a Category of Bourgeois Society. Cambridge, MA: The MIT Press, 1989. Print.

Kramer, Michael J. "The Psychedelic Public and Its Problems: Rock Music Festivals and Civil Society in the Sixties Counterculture”. Media and Public Spheres. Ed. Richard Butsch. New York: Palgrave Macmillan, 2007. 149-61. Print.

Rüther, Tobias, and Anthony Matthews. Heroes: David Bowie and Berlin. London: Reaktion Books Ltd, 2014. Print

Stevenson, Nick. "Talking to Bowie Fans”. European Journal of Cultural Studies 12.1 (2009): 79-98. Web.

Stevenson, Nick. Understanding Media Cultures: Social Theory and Mass Communication. London: Sage, 1995. Print.

Thompson, John B. Ideology and Modern Culture. Cambridge: Polity Press, 1990. Print.

Thompson, John B. "The Theory of the Public Sphere.” Theory, Culture & Society 10.3 (1993): 173-89.

Rest in Paradise, Mr. Bowie. ★

the city is my churchyou can take my picture, you can take my name, but you’re never gonna take my city away, ‘cause you can burn it to the ground, oh, or let it flood, but it’s in my blood. [a mix for urban magic and worshipping the city you stand in.]

01. team – lorde 02. bright lights bigger city – cee lo green 03. midnight city – m83 04. we built this city – starship 05. every subway car – barenaked ladies 06. the city – the 1975 07. take back the city – snow patrol 08. 9 shades of red – hedley 09. this city – patrick stump 10. metropolis – owl city 11. the city – madeon 12. drive it like you stole it – the glitch mob

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Writing a Family of Mixed Ethnicities and Incorporating Culture

Hello! I am writing a story featuring a multiracial cast and was wondering about a few things. I am writing about a young Hispanic girl who was adopted by parents, one Caucasian and one African-American/Black. I am familiar with these ethnicities from being surrounded by them on a daily basis (my school is really diverse. There are students from almost every region in the world, yet it’s not really a big school) and I was wondering when describing them and their cultural backgrounds, when is enough, enough before pushing over the line into it almost being stereotypical? I have been itching to write well diverse characters, but I don’t want to take it too far.   It’s kind of a stupid question and has almost an obvious answer, but I just want to be sure. You know?

When is enough, enough in describing a character’s background before it becomes stereotypical? Maybe putting all the stereotypes in the story you can think of and making the character a caricature instead of someone people can relate to.

There is no specific threshold. It’s not like a checklist where you shouldn’t use more than 3 stereotypes per character. Writing doesn’t work that way. The key to avoiding stereotypes is not to rely on them. That’s lazy writing.  If you give a laundry list of stereotypical traits all at one time as an info dump, it’s going to be boring and slow down the narrative of the story. If you sprinkle in these unique cultural details at the right moments, you can avoid being stereotypical.

Everyone is different and everyone does things differently even within cultures. Use a healthy balance of cultural commonalities within different groups and unique and specific idiosyncrasies that are tied to a character.

Also, take into consideration that you might know about these cultures because you are exposed to them and you might know how each group interacts within their own culture doesn’t necessarily mean you would know the complexity of how they would interact as a family.(Maybe you do, more power to you). Take this into consideration when you create a story with transracial adoption.  Look through the adoption tag and this post if need some clarification. Perhaps this will help you create a story that doesn’t rely on stereotypes and gives you a chance to explore themes such as identity, culture, and family. 

~Mod Najela

The hill rises, cresting. He has never seen the sea, and so he thinks, ‘It is like the edge of nothing. Like once I passed it I would just ride right off into nothing. Where trees would look like and be called by something else except trees, and men would look like and be called by something else except folks. And Byron Bunch he wouldn’t even have to be or not be Byron Bunch. Byron Bunch and his mule not anything with falling fast, until they would take fire like the Reverend Hightower says about them rocks running so fast in space that they take fire and burn up and there aint even a cinder to have to hit the ground.’

But then from beyond the hill crest there begins to rise that which he knows is there: the trees which are trees, the terrific and tedious distance which being moved by blood, he must compass forever and ever between two inescapable horizons of the implacable earth. Steadily they rise, not portentous, not threatful. That’s it. They are oblivious of him. 'Dont know and dont care,’ he thinks. 'Like they were saying All right. You say you suffer. All right. But in the first place, all we got is your naked words for it. And in the second place, you just say that you are Byron Bunch. And in the third place, you are just the one that calls yourself Byron Bunch today, now, this minute..’

—  William Faulkner, Light In August

Non black people have no respect for Black anything not our identities , movements, creations, our plights….they feel entitled to our shit always. Solidarity is bullshit.