tbh can people please stop treating trans men as Men Lite or a seperate gender from cis men? like i really dont think people are doing it intentionally in most cases but constantly being infantalized & people expecting u to be a “uwu soft boy” is really Tiring
This isn’t a very long list; these are just the ones on my to-read list.
Also, there are some works from the included authors that I have not listed because I haven’t looked too closely into their other books, or they aren’t up my alley genre-wise. If you don’t mind female authors or authors of any other genders, feel free to check out this list.
If you have more to add, feel COMPLETELY free to reblog and do so.
Aristotle and Dante Discover the Secrets of the Universe by Benjamin Alire Sáenz
Ash and Echoes; Ice and Embers; Iron and Ether; Cairn and Covenant; Calling and Cull; Wine and Roses (I don’t know exactly where this one fits in or if it does) by August Li
At Swim, Two Boys by Jamie O’Neill
The Beauty’s Brother by Leon Hart (read; ☆☆☆)
Call Me by Your Name by André Aciman
Captured Shadows by Richard Rider
The Cat in the Cradle; From Darkness to Darkness by Jay Bell
The Chosen; The Standing Dead; The Third God by Ricardo Pinto
Dangerous Moonlight by Mel Keegan
The Devil in the Dust; Tower of the King’s Daughter; A Dark Way to Glory (doesn’t say LGBT on Goodreads; unsure if it actually is); Feast of the King’s Shadow (doesn’t say LGBT on Goodreads; unsure if it actually is); Hand of the King’s Evil; The End of All Roads (doesn’t say LGBT on Goodreads; unsure if it actually is) by Chaz Brenchley
Dreamer by Steven Harper
An East Wind Blowing by Mel Keegan
Fortunes of War by Mel Keegan
The God Eaters by Jesse Hajicek (enjoying this one so far; not super far into it)
Haffling by Caleb James
The Lightning-Struck Heart by T.J. Klune
The Lonely War by Alan Chin
Lord Mouse by Mason Thomas
Maurice by E.M. Forster
Mordred, Bastard Son by Douglas Clegg
One Man Guy by Michael Barakiva
A Royal Affair; Aleksey’s Kingdom by John Wiltshire
The Sallee Rovers; Men of Honor; Iron Men; Heart of Oak; Man in the Crescent Moon; The Sea Leopard by M. Kei
Seidman by James Erich
Shadowdance by Robin Wayne Bailey
The Sheltered City by John Tristan
The Steel Remains; The Cold Commands; The Dark Defiles by Richard K. Morgan
While we’re having a lot of lovely discourse on here about how Joss Whedon writes heroines and how people in general write heroines based on the leaked WW script, I’ like to actually address another part of the problem: how you write the dudes in the story. Because the guys will inevitably interact with the heroine and therefore their writing has an effect on how the film views her.
“Feminist Fantasy” is a term I sometimes see used to describe fantasy/sci fi/supernatural stories that have powerful female characters. Thing is, feminist fantasy, much like feminist theory, evolves as time goes on. What would still be acceptable as FF back in the 90s may come across as cliche or even regressive today because opinions change as time goes on. And that’s a huge part of why the leak WW script rubs people the wrong way, especially how the guys act and how they impact Diana’s role.
The idea of “prove the boys wrong” is one that has been done to death since my childhood. It’s a typical plot or subplot. Girl wants to do X thing, boys say she can’t since she’s a girl, girl proves boys wrong, boys learn their lesson. Here’s the thing: that is no longer feminist fantasy. Because that is real life for so many women, having to constantly prove themselves to men over and over and still be looked over next time due to being a woman and have to do it all over again. Feminist Fantasy has moved into the realm of Fury Road and Wonder Woman 2017–where the woman never has to “prove” anything, at least not to the men on her side. She’s accepted as a capable human without a whole arc proving herself such.
Max never questions Furiosa or even the wives because they are women. The times he does argue or question are purely logistical and have nothing to do with belittling them or asserting his preconceived superiority as a man–he’s usually just checking the plan. While Capable does comfort Nux, it’s Nux who proves himself to the wives by getting the rig rolling again. While Nux learns to see them as people, the onus is not on the wives and other women to make that happen. Steve only offers the barest concern for Diana being a woman, mostly just related to how she dresses in London. Other than that his main issue is the Ares thing which he does not ever use to declare Diana naive and in fact it’s noted in-universe that she may even have a point before Ares shows up. He doesn’t just humor her about Ares, its treated more as a conclusion he disagrees with but can’t prove wrong so they simply operate based on their differing conclusions (Diana’s of “Ludendorf is Ares” and Steve’s of “idc if he is or not we’ve got to stop the chemicals”) until the Ares question becomes unavoidable. The other men similarly don’t belittle Diana or creep on her, the most we get is Sameer’s “
both frightened… and aroused
” joke when she beats a guy up and Sameer jokingly commenting on wanting to see her island.
How the men act is important compared to the WW 06 script, because the 06 script is much more regressive. Both the heroic and villainous men act like creeps and belittle Diana, sexualize Diana, lecture Diana. Essentially, guys treating Diana badly is a thing both the bad guys and the good guys do and she just has to deal with it. Which is just shit, from a feminist perspective. The idea that the guys who are heroes are going to treat women as badly (or even just almost as badly) as the bad guys and the only difference is the heroic guys are the ones who change their minds when she “proves herself” is really, really old. It’s simultaneously discouraging to women and insulting to men by saying that all men are pigs and women just have to deal with that, and it’s the “strong” women who do and change the mind of the “good” men…who are still going to be pigs but maybe less so towards you since you proved yourself. The idea of a guy who’s not a pig is not a thing.
Feminist Fantasy has moved beyond that. Feminist Fantasy is no longer where women are able to constantly prove men wrong–it’s when they don’t have to prove men wrong before being taken seriously as people. Because that shows a future, a past, a world where a woman can simply be accepted as a potential expert, or a warrior, or whatever else the character is doing without having to “prove” it to any man in the vicinity because that still places the men as having power over her. It’s not that they can’t prove men wrong–some still will sometimes and all of them could if directly challenged to–it’s that they don’t have to. Guys who are on their side simply accept that yeah, a woman can be that badass while guys who aren’t on their side, well the opinions those guys have a) don’t matter as much and b) because they’re the bad guys, she’s more focused on stopping their plans than proving her worth to them.
Women having to “prove” ourselves more than men before being taken seriously is not aspirational fantasy anymore–it’s where we are, more often than not. The fantasy is that we only have to prove ourselves to the same degree as any man written in the same situation would, and be treated equally to them. We already know the real world is not there yet (see every “Rey is a Mary-Sue compared to Luke and Anakin” argument ever) but the idea that escapist fiction can’t be a bit ahead of the curve on that should be eyeroll inducing at this point.
Batman vs Superman was over two hours of two men bickering over who has the biggest brooding cock-I mean, who has the better method of "saving" people and whether or not it's ok for Batman to beat and brand criminals without regarding the fact that not everyone's as wealthy and privileged as his morally upright ass and for Superman to ignore the fact that not everyone's as indestructible as him, meanwhile Wonder Woman over here...
Wonder Woman was vastly superior to bvs for two reasons.
-Wonder Woman is actually a likable lady and an idealistic believable super hero who doesn’t spend her entire moving thinking about how she COULD help people.
She charges in, headfirst, wanting to help people she doesn’t even KNOW because she wants to protect the people who’re dying.
-and Wonder Woman was just so much more subtle and less pretentious about its message.
Wonder Woman’s CHARACTER is not that she’s cold and heartless and…well, masculine.
She doesn’t EMULATE men.
She doesn’t need to act like a man to be strong.
She coos at a baby and kisses Chris Pine and doesn’t spend the entire movie ragging on women.
She dresses and acts feminine, and embodies kindness, grace, beauty, everything “feminine.”
And she’s also strong as fucking hell.
That is Wonder Woman.
She’s a good person.
She’s not some cold warrior goddess, an untouchable female shaped ideal.
She’s GENUINELY KIND.
She sees people suffering in the trenches and her first thought it, stop what we’re doing, we gotta help.
Chris pine and all of his men?
They’ve seen all of this.
They’ve hardened themselves to the horrors of war and accepted them as inevitable.
But Diana, new to the cruelty of the human world, is disgusted and she asks what’s wrong with you?
What is wrong with us?
We have accepted casualties. We have accepted pain.
We have excused suffering because we told ourselves long ago that we couldn’t do anything about it.
She does not accept that.
She fights, yes. She’s ferocious and she, unlike Batman, doesn’t have a compulsion against killing.
She was raised by warrior women, I mean come on.
But who does she fight for?
The women and children who did nothing wrong.
The injured, hopeless men fighting a war to end all wars.
The entire movie was lovely because all of Diana’s bewilderment at the way humans live was incredible.
She’s shocked at how dirty London is.
She’s not impressed by sex and she’s not impressed by war.
She thinks sexism is strange.
But she doesn’t like, rag on it, because Diana is literally so above it that she just wryly questions it at times.
Like I don’t care what all the whiny fanboys say.
There’s not an overt feminist message in this movie.
There’s no “men are so weak.”
There’s “men are corruptible” but as we see, Diana sees them as worth saving in the end, if only to fulfill her own ideals…
Which is feminist as fuck, I guess, because Diana doesn’t defend men because it’s her job.
She defends them because it’s her decision. Her morality. Her duty.
But the feminism in the movie comes from the fact that she’s so kind.
She breaks down when realizing that Ares isn’t behind it all, that MEN are the ones who are cruel to one another.
She sees the war and it’s only senseless violence to her.
All of the people she wants to help are the victims, and it’s clear cut, to her, who’s bad and who’s not.
But Chris Pine helps her realize that humans aren’t so clear cut.
And so even though she was disgusted by human actions, she still wanted to help the people in need.
I absolutely adore the scene where she’s charging across a battle field to pave the way to the town.
First off, it was so badass watching her knock aside artillery like it was nothing as the men cowered in the pits.
Second, SHE SAW THAT PEOPLE WERE SUFFERING AND SHE DIDNT CALCULATE.
She didn’t do a Batman, where she looked at the risks vs the benefits vs the needs of the many and the few.
She just charged in and did what she could.
Chris Pine told her she couldn’t do anything except help him with his plan, in order to stop the war and save them indirectly.
But Diana is a true warrior with the heart of a lion, man.
She helped them directly, with no nonsense, no politicizing, no planning, just action.
At the end she says love will save humanity?
That’s the kind of feminism Wonder Woman was embodying.
Wonder Woman wasn’t this lone independent operator who sneers at men who try to involve themselves in her business.
She was helped and supported by men, but it was clear that she was the star, the true hero who brought them and their plans together but also gave them a new hope, a new heart.
They were jaded by helplessness and mortal frustration, forced to fight to stand stills and accept human deaths.
She came and showed them something miraculous and wonderful: her power.
But not used to beat someone’s head in with a fucking sink.
Used to do good.
To fight for her morals, which aren’t corrupted by the human world’s greyness, not yet.
I loved this movie.
I loved this movie so much.
DC finally did good and we can stop pretending suicide squad and Batman vs superman were good.
Wonder Woman is the good DC movie.
Don’t even try to tell me BVS was better than Wonder Woman because if you genuinely believe that, either out of pride and obstinacy from all your bickering with marvel fans or out of delusional worshipping of anything DC, then I think you just like watching people beat people in slow motion and uncomfortably lofty , corporate-cut and stylized plots as interesting as watching a landscape time lapse.
Suicide squad was cut to bits by its editors, BVS suffered from some severe Snyder wanking, and justice league, I don’t know, we’ll see.
But Wonder Woman?
Best DC movie since dark knight.
God bless Patty.
I knew we needed a woman in charge to get the job done.
Now direct all sexist comments and sneering remarks about feminazis destroying your precious super hero genre with their “love” themes to my inbox where they’ll be lovingly deleted.
allowed to say no, too. Just because you’re a man doesn’t mean you always want or have to
want sex. Saying no doesn’t make you weak
or whatever others want to tell you. Nobody, man or woman, should be allowed to
manipulate you into having sex. Whenever you are uncomfortable, say no. Even if you
said yes at first, if you are uncomfortable at a later point, you don’t have to go through with it if you
don’t want to. You
have the right to say no and to stop just as much as any woman.
Tired of seeing Hanzo (even his young version) being drawn with very feminine proportions and made to look smaller than McCree or something while McCree keeps his physique and character
If you feel the need to feminize a male character for a M/M pairing then I need you to reevaluate how you view gay men or any other mlm. Are you really valuing gay relationships or are you fetishizing them and trying to push and imitate heterosexual standards.
There’s nothing wrong with feminine men. And I fully support them. But it’s different and gross when you depict a male character more feminine than he actually is for a gay pairing
PS I see this shit happen to Genji and sometimes Jack Morrison too
There are mouse traps in the Fake AH Crew’s penthouse. Old school, spring loaded mousetraps right out of a cartoon. It takes everyone a while to see them, and even then no one really takes much notice; there’s nothing particularly abnormal about mousetraps after all. Except that the penthouse has never had mice. Except that for all they are bloodthirsty criminals no one in the crew really has the stomach to crush a rodent to death; the Lads short lived plan to keep a pet snake to terrify Geoff ended not because the man in question caught them but instead because none were willing to handle feeding the bloody thing.
So the traps are weird then. The traps no one uses. The traps no one claims. The traps that seem to be multiplying. Not quickly, slow enough to slide under the radar, but month by month the boxes grow until suddenly one of the spare rooms is completely filled.
Which, understandably, is noticed. Geoff calls a meeting and the crew wastes an afternoon squabbling over who and how and why but nothing is resolved. Everyone knows it must be a trap of some sort, someone setting up for a prank or a hilarious stunt, and no one wants to be the target. The culprit does not identify themselves, and there’s more than enough secondhand glee and trepidation going around to muddy the waters and keep the guilty party unknown.
No one is prepared to brave removing the mousetraps themselves, unsure if some trap will be sprung simply by entering the room, so the boxes remain. It’s an uneasy sort of acceptance, no member of the crew wanting to complain and single themselves out, so the threat lays dormant long enough that everyone has to move on, has to stop actively wondering. Even subconsciously they still pass the room gingerly, cautious, but as the months go by and the bedroom remains closed the fact that the boxes continue to multiply is pushed out of mind.
And then Dan flies over to pay Gavin a visit. As usual he’s greeted with a celebration, drink in hand before he’s through the front door; the first of many as the night predictably devolves into something raucous and messy and seamlessly fond. It’s late by the time the teasing and story telling dies down, by the time Dan finally trudges up the hall with his bag, so it takes the crew a moment too long to remember that Dan’s usual room was already occupied. They thunder down the hall just in time to see - nothing. The boxes are gone, the room is immaculate, like nothing strange has been growing there for almost a year, like the crew’s fears were entirely unfounded.
Or so they think, until dawn breaks with Dan screaming the house down, waking everyone up way too early as they scramble to arm themselves and drag their hungover bodies towards the apparent fight taking place in the living room. The fight between Dan and what turns out to be literally thousands of mousetraps, laid out in concentric circles around the main room ready to catch Dan on his usual jetlag-early, half-awake stumble to kitchen.
The culprit would be obvious even without Gavin’s distinctive squeaking giggles ratting him out, perched on the kitchen counter and filming the whole scene on his phone, the areas around him lined with its own little wall of still-loaded mouse traps. Unfortunately, regardless of whatever protection Gavin thought they would buy him, Dan charges right through to tackle him screeching to the ground anyway.
The video winds up on youtube, because of course it does; Gavin is an asshole and sees no reason why the whole world shouldn’t enjoy his endless efforts to torture Dan. By the time Gavin gets the video together, including a time lapse of the set up, various angles from a handful of go pros placed strategically around the room, a slow mo replay of the dawning horror on Dan’s face as the traps go off and the angry bodyslam to close it out, it has all the elements of an excellent video. So of course it goes viral; passed around the internet at lightning speed, shown on various news programs, racking up millions of views before the day is over.
It doesn’t take long for the internet to point out the handful of infamous criminal lookalikes edging into frame at the end, obviously too soft and rumpled and hopelessly entertained to be the real deal, but still a funny comparison all the same. Even more amusing when the blurry footage almost makes them look armed, so-called guns a startling juxtaposition against the silly prank and cutesy patterned pyjamas everyone seems to be wearing. Combined with the obvious opulence of the room, and the kind of cash it must take to buy so many mousetraps just for a stunt, there is no shortage of people joking about the video being a candid episode of MTV Cribs featuring the Fake AH Crew.
Middle-aged women coming out of Magic Mike XXL and thinking it’s okay to make suggestive comments to teenage boys. Because I work at a movie theatre, and it happens way more often than you would think. Our (mostly male, teenage) ushers stand at the doors of theaters as the movie ends and tell people to have a good day before cleaning the theaters. And as this happens with Magic Mike audiences, groups of 40 and 50 yo women will occasionally say repulsive and sexual things to the male ushers, and that is 100% not okay. And what’s worse is everyone thinks that’s fine and they’re “just having some fun”. We all know it’s disgusting and wrong for grown men to say that to teenage girls, but it’s also wrong for grown women to say that to teenage boys.