pure woman and man

anonymous asked:

Why do you think Marston have the whole "wonder woman made from clay" angle in her origin that we've basically had ever since (ish)? Isn't "best of the best of secrect scifi hidden amazons" an exotic and exciting enough origin?

She is made from clay so that she is pure woman, without the taint of man-stink anywhere in her. Her parthenogenic origin means that she is pure, woman born of woman.

Why clay specifically rather than just, say, popping out of Hippolyta’s thigh, or head, or even just regular old virgin birth? Well, as I explained in this essay that I apparently wrote before I had read the huge pile of Golden Age Wonder Woman that I have since read, it ties her thematically to Pandora, the first woman.

(That link also reminds me I owe some people some essays. Sorry, y’all. Let’s see what I can do.)





he doesn’t understand
how love and lie go hand in hand
he only sees the truth and he speaks it
he sees the truth and he speaks it

his pure heart is under pure command
and he’s loved whether she loves woman or man
‘cause he sees the truths and he speaks it
he sees the truth and he speaks it

oooooooooooh Jason my hero

and he wants to make it right
every wrong every hurt she’s taking in stride
but he sees the truth and he speaks it
he sees the truth and he speaks it

and he knows that they will put up a fight
but they need it to kiss and make up tonight
'cause he sees the truths and he speaks it
he sees the truth and he speaks it

oooooooooooh Jason my hero

and you know you are playing cupid
you’re playing with fire boy
lock the door and throw away the key
do you know what happened before

you thought that she loved her
but now you know it for sure
so go and play cupid
go light that fire boy

oooooooooooh Jason my hero

*me fucking up the recording and having zero regrets*

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The ‘one’ is of course one’s self, one’s conscience, one’s idea, the singleness of one’s aim. I think of that pure spirit as a man thinks of a woman he has in some detested hour of his youth loved and forsaken. She haunts him with reproachful eyes, she lives for ever before him.
—  Henry James, from “The Less of the Master,” Modern Short Stories: The Uses of Imagination, 4th ed. by Arthur Mizener (W. W. Norton & Co.,

I probably should stop replying to people who ask ‘why do people hate Mon-El? he hasn’t done anything seriously wrong! he’s just trying to be better!’

But the thing is, it’s not (just) about Mon-El as a character, from an in-universe perspective. From that perspective, he’s kind of a frat boy… annoying to some of us, but not terrible, even if he did literally beat people up for money for a while and is almost definitely hiding things

From a meta perspective, though, the phenomenon of Mon-El is terrible:

  • writers break up Kara/James, a pure ship between a white woman and a black man. the break-up is poorly written.
  • and then immediately bring in this prospective love interest
  • a character who, while not evil or anything, is nowhere near as good of a person as James
  • and who, it should be noted, is a white man.
  • he’s also being favored as a love interest over f/f fandom fav Lena Luthor (also white) so both karolsen fans and f/f fans resent him for that
  • he represents, as others have said, a number of annoying tropes, such as the one where a woman has to reform her male love interest
  • and steals the spotlight from other characters that some of us prefer, including Kara, the fricking MAIN CHARACTER

Mon-El himself is… whatever, he’s not the kind of character I particularly enjoy, but I can put up with that. But Mon-El’s storyline, thus far, is a departure from what many in the fandom enjoyed about the show or hoped the show could be.

It should also be noted that liking a character and thinking they’re a good person are two totally separate things. Many of the major DC villains, such as the Joker or Lex Luthor, have fans who love them as characters even while acknowledging that they are the actual worst. Conversely, just because Mon-El doesn’t seem to be evil doesn’t mean anyone should have to like him. That idea confuses me.

Girls - L.H.

Summary: Luke’s little sister is hiding a big secret and he’s determined to figure out what it is. (Classic overprotective brother Luke)

Pairing: Luke x Female Reader (Brother/Sister)

A/N: If you’re uncomfortable with gayness this isn’t for you ?

It was unexpected. Y/N was brought up believing relationships should be between a man and woman, molded into the pure good girl that the church wanted her to be. She couldn’t believe she was once so close-minded, unaware of what the world was holding for her if she just let herself go. Cherry chapstick kisses, soft skin and full lips that made her absolutely melt. Sneaking out of class to “go to the bathroom” when they would really hide out in the supply closets to sneak kisses. 

Y/N had a girlfriend, and she loved every second of it. Now that she thought about it, she saw this coming. This is what happens when her parents send her to an all-girls school where rules are so harshly inflicted on the students. Somebody is bound to push past those boundaries. Y/N is that somebody. 

Keep reading

The film is a passionate deconstruction of conservative myths about nationhood. At a critical point, the formerly hidebound Stephen cries out: “No, no! I am nothing pure! My race is mixed. My sex is mixed. I am woman and man, light with darkness, nothing pure! I am mud and flame!” Rather than hewing to a belief in tradition, continuity or stability, Rudkin champions hybridity and what Salman Rushdie would later term cultural “mongrelisation”. A while before it became fashionable for historians to talk about the inseparability of “nation and narration” or “the invention of tradition”, Rudkin was arguing that English Christianity was a violently imposed ideology. The family, heterosexuality, militarised manhood: all these pillars of patriotism take a tumble. 

What makes Penda’s Fen particularly prescient is that it locates these hybrid transformations in the English countryside. The 1970s saw a number of artists offering new versions of pastoral – Philip Trevelyan’s The Moon and the Sledgehammer (1971) was a creepy documentary about a family living without electricity in a wood; Richard Mabey’s The Unofficial Countryside (1973) introduced readers to what would later be known as edgelands; Jeremy Sandford’s Tomorrow’s People (1974) portrayed the Dionysian longings of free-festival revellers. Rudkin shows rural England to be a place of struggles and heresies, of antagonisms and anguish. The film even turns to etymology, arguing that “pagan”, which originally meant “belonging to the village”, referred to the politics of local governance as much as it did to theological doctrine.

Stephen, the film’s unsteady centre, is told: “Be secret. Child be strange, dark, true, impure, and dissonant. Cherish our flame.” For Rob Young, author of Electric Eden (2010), Penda’s Fen is part psychogeography, part toolkit for imaginative unshackling: “The pattern under the plough, the occult history of Albion – the British Dreamtime – lies waiting to be discovered by anyone with the right mental equipment.”

Sukhdev Sandhu

from Penda’s Fen: a lasting vision of heresy and pastoral horror

anonymous asked:

I think of it this way. All guys are cable of cheating, and I always think that I'm no special. I think if guys can do it to pretty and amazing girls, they can also do it to me. I'm just an ordinary girl. I think of it for me to avoid getting hurt.

Yes cheating is always on the guy’s disposal. It is up to him whether to give in to temptation or not. But if he is really a man, he won’t even think about it. What could he possibly gain from doing it? He could also lose. If he really loves a girl, he would stick like glue and respect his woman. It is also not because of the level of attractiveness of a woman. That’s pure crap. Again, if he is a man, he will be true to his feelings. If he doesn’t love a woman, why prolong the agony? As for you, please keep on believing on the real meaning of love. There are still good guys out there. Cheaters may be rampant but look on the alleys not just on the highway. They still exist. You just have to wait for him. And please, don’t ever say that you are not lovely. All women are unique and pretty in her own ways. If a man really loves you, he will look at your personality more than on the outside. Just be your self and he will eventually fall.
Am I making sense? Did I answer your idk-what-to-call-this? You aren’t ordinary. You’re extraordinary anony. Good evening! Sorry if I just answered now.

I just love shows where men and women can be friends with zero sexual or romantic tension.  Shows like Person of Interest with Shaw and Reese, iZombie with Liv and Ravi, Elementary with Sherlock and Joan, The 100 with Clarke and Bellamy, Agent Carter with Carter and Jarvis. It’s just so good to see pure friendship with the man and woman are just there for each other without the show trying to push a realtionship.

anyway if you think trans men, nb butches, and butch lesbians have no shared material and historical reality, or even that trans women and drag queens experience no overlap or kinship (even when there are trans women drag queens…. and many trans women come from drag scenes…..), that they cannot identify with as easily as they are misidentified as each other, just because one is in the (suddenly pure, stable, and ahistorical) category of “man” and the other in “woman” 🤔🤔🤔🤔that’s honestly not good analysis or theory

like sorry but, for example, one of the reasons it’s hard to “easily” talk about violence against trans men is because it’s not easily extricable from violence against cis women & esp butches. i’m not saying transphobic violence against men is always identical to misogyny targeting gnc women, but if our analyses can’t understand the resonant and overlapping ways in which these groups suffer violence, then we’re doing a bad job and we sure as hell are not actually working toward any kind of solution

About Wonder Woman trailer: being in love with a man don’t make her less feminist or the movie a “thing about woman following man”. That love is pure and rare, make people great, love don’t have colors, gender, profile. WW still a great super heroine, a great woman, a great symbol of women! So shut the fuck up and appreciate how amazing the trailer was and Gal Gadot as Wonder Woman!

stop romanticizing rey being strapped to a chair in what is effectively kylo ren going through her brain for information and kylo ren taking off his helmet. stop making her look of terror be romantic, it’s not “oh shit he’s hot”, it’s “oh shit there’s a person behind that mask and he’s definitely still going to try to get this information out of me”. stop making a moment that is a young woman’s pure horror as a man significantly older looms over her into something of swooning. stop acting like they were on equal footing in that scene