it's one of my favourite books

2

The Library of Nicholas II, tucked away in a corner of the Winter Palace which is now the home of the Государственный Эрмитаж.

This is my favourite room at the Hermitage – there are so many (many) opulent and beautiful rooms here, but this one is one of the smallest and quietest and, in a way, the most thoughtful and carefully crafted in its atmosphere.

  • Alec [about Camille]: Does she still love you?
  • Magnus: I don't think so. She wasn't very pleasant the last time I saw her. Of course, that could be because I've got an eighteen-year-old boyfriend with a stamina rune and she doesn't.
  • Alec: *sputters*
  • Alec: As the person being objectified, I ... object to that description of me.
The Three Waves of Discworld

So I’ve been thinking for a while about the Discworld books, and how they can be divided up into three rough thematic phases; not based around the focal characters, but rather what the story is about.

The first wave, which begins with The Colour of Magic and I would say ends with Guards, Guards! or Faust Eric. These books are parodies of existing fantasy, and thematically spend a lot of time exploring the conventions of these stories, both mocking them and codifying them as fact for the Disc. We get a lot of witches and Rincewind books here.

Having set up the status quo, the stage is then set for the second wave to enter, starting with Moving Pictures. This is when Pratchett starts to branch out in terms out his parodies, and moves from fantasy parodies to other areas of society and culture, from the movies in Moving Pictures to shopping centres in that weird Reaper Man subplot, to guns in Men at Arms. Notably, all of these are based around external forces disrupting the status quo, and having to be set right. My favourite example of this is probably Jingo, where the external force disappears by itself when the island sinks back into the sea. Hogfather, Carpe Jugulum and Thief of Time all fit into this wave, which has kind of a fuzzy boundary with the third wave. 

Fantasy has always, as an overall genre, had a problem with the idea of growth and change. The idea of “Setting right what went wrong” and protecting the existing status quo has always been a major element in a lot of fantasy stories. “Restoring the true king” is a popular one which is lampooned by the character of Captain Carrot, but Discworld itself has, up to around 1996, had a problem with this itself (notably, the point of the Carrot subplot in Men at Arms is that he is the true king but delibrately chooses not to reveal himself in order to defend the status quo) Its plots, while often having some changes for individual characters, rarely allowed the setting itself to change, and the change that occurs is put right by the end.

The first book to sort of challenge this is probably the fantastic Feet of Clay, one of my favourites, where the role of the Golems is examined and by the end, the concept of a Golem owning itself is introduced. This is a major change for golems in the setting, but it isn’t really played with much here. The two books that really kick off the third wave come, fittingly, at the turn of the Millenium; 1999′s The Fifth Elephant, which examines dwarf politics, and the 25th Discworld novel, 2000′s The Truth, which is the first time we really see a persistant technological change in the setting. The newspaper set up by de Worde is a major factor in all the later books, and notably it is the protagonist of The Truth that is trying to disrupt the status quo with the creation of the newspaper. It isn’t films or rock music, which are eldritch abominations that must be stopped, but an organic and important change in the setting. This is the main theme of the third wave: the Disc is changed and shaped in lasting ways by the actions of the main characters, particularly on the wider social level. Cherry Littlebottom helps to change dwarf gender norms, goblins and orcs are introduced to society at large (admittedly in rather easy ways), and the biggest change of all is the introduction of everyone’s favourite conman, Moist Von Lipwig, who progressively creates or helps create the postal system, paper currency, and the first train network. In the Tiffany Aching books, we see both changes in the social structure that were made far earlier and then ignored (the female wizard Eskarina Smith in I shall Wear Midnight), and a double whammy in the death of Granny Weatherwax and appointment of Gregory as the new witch for her old area in The Shepard’s Crown. In the three waves, we go from stasis, to active defence of the status quo, to challenging and changing it.

Obviously this isn’t a perfect model. While I think the switch between waves one and two is fairly clear, as I noted above waves two and three are far more fuzzy in their boundary. Most notably, while I said that The Truth was the first major wave three book, between it and Monstrous Regiment and Going Postal, we have the second wave’s last hurrah; Nightwatch

Nightwatch is entirely build around the idea that nothing changes. Carcer’s actions threaten to change history, and Vimes has to put it back, while on the other side of the thematic coin, the revolution that the past characters, including young Vimes, are fighting for explicitly just results in more of the same, putting Mad Lord Snapchase in charge.

Except that…even here, we know that this is not true. Vetinari is in charge of Ankh Morpork in the modern day. Vimes has risen through the ranks to become the commander of the watch and a lord himself, a far cry from his humble, improvished beginnings.

The world will change, and sometimes those changes must be fought, but often we need to fight for those changes ourselves.

10

“He is tired of life. He has madness in his soul.”

Alexander Siddig as Mr. Shaitana, “Cards on the Table” - Agatha Christie’s Poirot [2006]

We dangerous ones

Aaah, the Lethifold! One of my favourite creatures from reading the book as a child. Thanks to @zinfandelli for suggesting it as a creature, I was psyched to draw Credence with one. 
(And of course I saw the official design on the bluray just as I was about to start colouring, and had to change up a bunch of stuff from my sketch haha)
Art blog: questionartbox

Russ, J. (1983). How to suppress women’s writing. University of Texas Press.

The cover of Russ’s book does an excellent job of summarising its main argument: that women’s writing is deliberately devalued in a range of ways. It’s on the wrong subject matter, it’s the wrong genre, it’s morally objetionable, it’s not proper art. In 1983 Russ wasn’t writing specifically about fan fiction (yet), but fan fiction readers and writers will recognise these tactics employed against them. “She wrote about men banging! And it most definitely isn’t art - it’s derivative and unoriginal!”

One of my favourite moments in the book comes towards the end, when after some self-reflection Russ realises that she and other white women within academia and the feminist movement have been employing exactly the same tactics to devalue Black women’s writing. With recent debates on race in both fandom and Fan Studies, this powerful moment of realisation is worth keeping in mind.

Image description:

The cover of How to suppress women’s writing by Joanna Russ, which consists of the following text:

She didn’t write it. But if it’s clear she did the deed… She wrote it but she shouldn’t have. (It’s political, sexual, masculine, feminist.) She wrote it, but look what she wrote about. (The bedroom, the kitchen, her family. Other women!) She wrote it, but she wrote only one of it. (“Jane Eyre. Poor dear, that’s all she ever… “) She wrote it, but she isn’t really an artist, and it isn’t really art. (It’s a thriller, a romance, a children’s book. It’s sci fi!) She wrote it, but she had help. (Robert Browning. Branwell Brontë. Her own “masculine side.”) She wrote it, but she’s an anomaly. (Woolf. With Leonard’s help…) She wrote it BUT

the use of diamonds in endless summer: a rant

as someone who’s played through endless summer without spending literally one (1) diamond—a lot of the enjoyment that comes from playing the game is saturated by the desire to spend diamonds in order to get a happy (or happier) ending. the book is no longer reliant on the player’s actions to produce an good outcome, but instead on how much money the player has rolling around in their bank account at the time. it’s… not good.

this got really long (WARNING: this is super fucking long (by super fucking long i mean +1,500 words long, so super fucking long), i was fueled by rage and pretty much nothing else), so i had to split it into parts. yeah.

Keep reading

Bruised (Richie/Eddie) 8/12

 Summary: It’s 1993 and the summer from many years ago is dead and gone. Many have drifted apart from the Losers club and its at the point where there is no club at all. The atmosphere is cold just like the winter months and the only blushes to be found are the ones that are caused from the piercing spikes of cold that heat skin up. Being a teenage boy is hard; especially for the two boys that now count each other as strangers. In which both boys make a plan, but both disrupt each others.

Warning(s): Panic Attack scene mixed with vomit

A/N: I quote from my favourite poetry book Salt in this part, s/o to whoever sees the ref!

Part 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 (Soon)

Eddie walked into his home, his heart hammering in his chest and washing his blood around his system at a high rate; after checking stuff off his bucket list such as skipping school, smoking a cigarette, kissing someone and stand up in the back of a car/truck of some sort with the wind in his face (bonus points that it was to Hey Jude) he was feeling starstruck after such an eventful day.

It was all because of Richie.

Eddie felt breathless, but in the best way possible. For once, he wasn’t reaching for his inhaler despite him losing it. For once, Eddie had rebelled for once in his life and didn’t regret a minute of it.

Keep reading

9

literature: peter pan by j.m. barrie

peter was not quite like other boys; but he was afraid at last. a tremor ran through him, like a shudder passing over the sea; but on the sea one shudder follows another till there are hundreds of them, and peter felt just the one. next moment he was standing erect on the rock again, with that smile on his face and a drum beating within him. it was saying, ‘to die will be an awfully big a d v e n t u r e.’

Protector

Summary: Takes place after ‘Fitting In (Hogwarts Houses!)’. Roman and Virgil watch Harry Potter & The Prisoner of Azkaban together. Conversations are had and lessons are learned.

Tag list: @fancifulfox @eternalsavvyskies @justanotherpurplebutterfly @helpimafangirlposts @storytellerofuntoldlegends @seasoflies @otakuudere666 @cicci10 @dont–talk–to–me @isarealdemigod @ppolkadotty @geekgirl1304 @shadowwolf146 @multifandomexplorer @wotusayinm8 @akreliadeklavesht @holdnarrytight @serenity0092 @stripedhorizon @anythingcanandwillbeshipped @islandofthemisifits @chemicallyimbalancedromance @therealscarleyy @rude-meh-dude @captainsparkleshoes @princesscascas1 @thebestbadblog @cup-of-blue @give-me-a-minute-to-think @crazymadredfox @thetranspal @softbludemon @hrtnsolofytube @ashrain5 @jemima719 @superskittlezworld @thestoryoferissur @thebrightsilverlining @fuckinfiteme @invisibleninjah @blog-mrs-hemsworth-universe @boopityboopboopboop @thisimmortalnerd @sparkly-guava @iluvkittens29 @wanterwolf @accidentallyawkward @ask-francis-kinloch @artidan @call-me-jam @raise-a-glass-to-fandoms @rotten-pastel-boy @monkeygirl2455 @solocellist @starlightblood @edgeworthsnoodle @gaysonofjafar @crazybooknerd15 @emeraldgleam @just-stuff-for-everyone @somedobbyoncetoldme @fujoshilordtaco @kaleidoscopekai

Also on ao3 here


“Alright. Favourite character on three.”

“I can’t choose among my darling babies!”

“Roman, they’re not your- whatever, fine. Favourite… book to movie adaptation.”

“Ooh, fancy schmancy. Okay, one, two, three-”

“Prisoner of Azkaban.”

They answer perfectly in sync, and Roman gasps, clapping his hands in excitement and delight. “I knew it!”

Virgil rolls his eyes. “Oh, please, you probably just like it cause Harry’s hair is at its most accurate.”

“True, it is fabulously disheveled, but I was more going for… I don’t know, it’s more intangible, just the- the atmosphere is portrayed so well and… of course, there’s still issues- like, The Marauders were not given nearly enough time to explore, nor the Animagi concept and-”

“How about we just watch it, then?” Virgil smirks. “I swear, you’re getting nerdier with every passing day.”

Roman scrabbles around for the DVD, shouting back, “Excuse you, I’ve always been passionate about Potterlore.”

No, really? I don’t think anyone’s noticed.”

Roman has already pressed play on the DVD, loudly humming along to the theme tune. The beginning passes pleasantly enough, although Virgil starts to feel a horrible prickle of familiarity when Harry storms out of Number 4, Privet Drive. Things are different now, he reminds himself, and he concentrates on trying to keep his breathing measured.

Roman glances at him out of the corner of his eye. He doesn’t say anything, but subtly taps 1, 2, 3, 4 on a pillow, and it helps, a little. 

They reach The Knight Bus scene and Virgil hears the laughter building in Roman’s voice, even as he tries to say it casually: “Oh, look.” He points as the talking head cracks another pun. “There’s Patton.”

Virgil bursts out into surprised laughter. “D-doesn’t that make Logan Stan Shunpike?!

Roman chuckles. “Wait, wait, hold on!” He snaps his fingers and a replica of Logan’s glasses appear on his face. He adjusts them in an uncanny impression, that shatters as he drawls, “Objectively!” in an appalling cockney accent.

“Oh God, never do that again, Roman, I’ll have nightmares.”

There’s comfortable silence for a while. Virgil finds it oddly endearing how enraptured Roman gets while watching the movie: he mouths along with some lines, and his face goes through a roller-coaster of expressions.

And then, they get to the scene where the Hogwarts Express stops.

And Virgil can feel his uneasiness grow, and he should just be silent, damn it, but he feels like just saying something will make him feel better and, hey, Roman will find it funny, right…?

“Oh, look.” Virgil points as Ron’s hand reaches up to cover the ice forming along the train window. “It’s me.”

Roman’s brow furrows. “…Say what? You’re not Ron.”

Backfired, bad idea, horrible idea! “No, I-” Virgil clears his throat. “I meant-”

The dementor looms onto the screen, and Roman’s face turns white.

“Uh, relax, Roman, it was just a joke.”

He doesn’t need to know it’s a defensive mechanism, ha ha ha, just laugh please-

Roman stares at Virgil. His eyes are wide in absolute horror. “But that’s not true at all!” 

And… wow. He bellows it out with such ferocity that Virgil feels touched.

“It’s fine, Roman. Here.” He nods at the screen. “This means Logan is Lupin, in a way.”

Because isn’t that the truth? he thinks despondently. If not for Logan and that… curve thing, he could never be… managed.

Roman still doesn’t look remotely happy. But, he keeps quiet, brow still furrowed, as if in deep concentration. Eventually, he blessedly breaks the silence by saying, “Perhaps Lupin is a mixture of Logan and Patton.”

“Uh, yeah.” Virgil breathes out, grateful that the subject has been changed. “I can see that. Cute.”

They continue watching, but Roman is still distracted, Virgil can tell. Every so often, he bites his lip.

When they reach the first Divination lesson, Virgil asks, “Hey, um, what house is Trelawney in?” He tries and fails to hide his smirk.

“Hmm.” Roman hums thoughtfully. “Ravenclaw, if memory serves. Why?”

“Oooh. You might need to change Houses.”

Roman gasps, affronted, as Trelawney walks into a table. “I beg your pardon, but I am nothing like her.”

Virgil raises an eyebrow. “Oh, really?” 

And then, he tries it out, this whole teasing thing they seem to have going on. It’s new, but it’s not bad new, and Virgil finds it surprisingly easy to imitate Roman’s booming projection of a voice:

“Are you in the beyond?!

He is stunned that Roman now doesn’t look the least bit offended- he just throws back his head and laughs. 

“An accolade worthy performance, Virgil.”

Virgil smiles. “I just watch and learn from the drama queen.”

They slip into silence again. This time it stretches on for so long that Virgil thinks Roman might have fallen asleep. Maybe he should turn off the-

“A-ha!” Roman exclaims and Virgil jumps.

“Woah, woah, what?”

Roman is smiling, fist punching the air in victory. “I finally figured it out! That is, who you are. In… in this movie, certainly.”

Virgil sighs. “Look, I told you, I’m not bothered about the whole Houses thing-”

But Roman cuts him off, and he points at the screen, as Harry screams, “Expecto Patronum!”

“Why, you’re a Patronus, of course, Virgil! I don’t know why I didn’t think of it before.”

Virgil blinks, then looks at Roman uncertainly. “I don’t get it.”

“Oh, it’s all in the spell. A lot of them are rooted in Latin words, Logan was telling me. Expecto can mean I wait, and a Patronus is a protector. So Expecto Patronum is like saying, “I wait for a protector.” And, you said it yourself, your goal is to protect. Isn’t it wonderful, Virgil!” Roman claps his hands together. “You’re the Patronus charm!”

Surely he must be mishearing things. It takes Virgil a few attempts until he’s finally able to speak. “You’re… you’re saying that I- that I’m…” Strength? Light? I can drive away darkness? I… protect? 

He feels like his throat is closing up. “That’s… Jesus, Roman.” He sniffs. “That’s… probably the- the nicest thing anyone…”

His voice fails again, but he doesn’t care. He shuffles closer next to Roman on the couch, and Roman just smiles at him, briefly half hugging him with one arm. Then, he’s off waxing lyrical about all the different forms a Patronus can take, and how Virgil’s would probably shapeshift because that would be sweet, and what would everyone else’s be…

Virgil lets his words wash over him. Even if it’s ‘just’ fiction, he knows he’d be able to conjure up a strong Patronus. He already knows what his happy memory would be.


Also on ao3 here.

4

Cairo’s homosexuality posed one of the biggest obstacles to securing overall approval of the picture. Hammett didn’t mince words in the novel. “This guy is queer,” says Sam Spade’s secretary as she hands him an engraved card bearing his name - Mr Joel Cairo. He speaks in a “high-pitched thin voice,” carries “gaily colored silk handkerchiefs fragrant of chypre,” and walks in “mincing, bobbing steps.” … Hal Wallis realised that American audiences - not to mention the Hays Office - were not ready for a candid look at homosexuality, which traditionally drew laughs and jeers out front. 

After seeing Lorre’s first day’s work, Wallis dashed off a memo to Huston: “Don’t try and get a nancy quality into him, because if you do we will have trouble with the picture.” Huston bent to Breen’s will. In the scene, Effie presents Cairo’s calling card to a bemused Spade, who holds it to his nose.

“Gardenia,” says Effie.

“Quick, darling, in with him,” replies Spade.

The rest Huston left to Lorre’s subtlety and the viewer’s imagination.

The svelte 137-pound Lorre who stepped before the camera seemed younger, fitter, swifter. More was asked of him and he asked more of himself. The role was the best of its kind to come his way in years and Lorre knew it.

“I’d often shoot a scene with Peter and find it quite satisfactory, nothing more,” recalled Huston - 

But then I would see it on the screen in rushes and discover it to be far better than what I had perceived on the set. Some subtlety of expression was seen by the camera and recorded by the microphone that the naked eye and ear did not get. He’d be doing little things that the camera close on him would pick up that standing a few feet away you wouldn’t see. It was underplaying; it was a play that you would see if you were close to him, as a close-up, as a camera is close. Things would flicker there and burn up slightly, like a lamp, and then dim down, and come on again. You’re watching something as if it were in motion.

from The Lost One: A Life of Peter Lorre -Stephen D Youngkin

Guess what came in today?? @goddamnchou‘s Sugar with the amazing cover by Pandanoi! I’m so glad I didnt forget to order one before it’s out of store, because I love that fic to pieces…It’s Fluff, Feels, Smut and…Daddy in all the right amounts :> The Eruris themselves did take a look too:

…at the smut, huehuehue.

MY. Omega. - Bucky x Reader (4/?)

| PART 1 | PART 2 | PART 3 | PART 4 |


IT IS HERE! SORRY TO KEEP YOU ALL WAITING - I LOVE YOU ALL.

I HAVE DELETED MY TAG LISTS SO I WILL BE MAKING A COMPLETELY KNEW ONE. IF YOU WANT TOBE TAGGED, MESSAGE ME! :)

ITS GOOD TO BE BACK

Originally posted by caps-bucky

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Stenonychosaurus is BACK!! I am ridiculously excited about this.

Why am I so excited about the return of a somewhat-obscure genus of troodontid that hasn’t been a recognised scientific name since the 1980s? Well, I’m glad you asked that weirdly specific question, because I just happen to have an answer.

Stenonychosaurus used to be one of my very favourite dinosaurs when I was a small kid. It was in one of the first dinosaur books I ever owned, and to be honest the main reason I loved it so much was probably because I was proud that I could say its name properly. Cut forwards a couple of years and I find out that Stenonychosaurus has been lumped into Troodon. I was sad, but I got used to it.

And now Stenonychosaurus inequalis has made its glorious return, just as Brontosaurus did before it! And “Troodon formosus” has been shackled with quotation marks and sent to the dungeon of nomen dubium. I probably shouldn’t be this vindictive about the recovery of a species, but I am.

So now you know the tale of my old friend Stenonychosaurus. We are now reunited at last, and shall continue to have many wonderful days together.

At least until another study does something else weird with it, anyway.

5

“Life is a storm, my young friend. You will bask in the sunlight one moment, be shattered on the rocks the next. What makes you a man is what you do when that storm comes. You must look into that storm and shout as you did in Rome. Do your worst, for I will do mine! Then the fates will know you as we know you.” // . lit moodboards // the count of monte cristo for @le-temps-de-la-papillon  .