Anghraine

I do like Glimmer, but … uh, I thought making Adora cry would be her low point, and whoa, was I wrong.

I managed to integrate a lot of tangents into last night's infodump on Númenórean pregnancy because it turned up so many interesting sort-of related things, but there were STILL MORE details that I couldn't work in but was delighted in various ways by. A list:

1. Tolkien struggled to make the Maeglin story work with the developmental scheme he was trying to mathematically pin down for Elves, given that Maeglin's history requires him to be born much later than most of the other Elves of his generation. Tolkien concluded that Maeglin had to be an adult, but that he would have been very young in Elvish terms, and this is part of the reason Idril was so unsettled by his interest in her. He wasn't a literal child but he was kind of a kid from Idril's POV.

2. SPEAKING of Maeglin's history, another idea Tolkien came up with to deal with the Maeglin problem was the idea that Maeglin actually isn't that much younger, but instead, Aredhel was either persuaded or trapped by Eöl before ever reaching Aman! In this case, the "Dark Elf" descriptor for Eöl would have no racial subtext whatsoever—Eöl would not be Avari or Sindarin at all, but another Noldo who refused to finish the journey to Valinor and thus never saw the light of the Two Trees. The implication of Noldorin Exiles calling him "Dark Elf" is less "Sinda" and more "loser."

3. Tolkien makes a couple of errors in trying to figure out the math. Some of those mistakes are the math, or at least numerical (Arwen's birth year gave him a lot of trouble, more on this further down), but he also does things like mixing up Elenwë and Anairë at one point. IDK, there's so much hagiography in Tolkien discourse that it's kind of endearing to see him making ordinary writerly mistakes.

( Read more... )

The biggest problem with working on the same projects for so long is that when I hear “it’s okay if people don’t like it, you can always write something new,” I’m just … uhhh, no?

Ordinarily, I work on my pet projects over 5-10 years. Sometimes I don’t care if people like them, to be sure. But sometimes I do! And just shrugging off the response to something I’ve dedicated a substantial chunk of my life to—whether it’s fanfic or original—is just, nope.

Tagged: #and the longer it takes to finish things (always pretty damn long) the more i feel like this #sure i have other stories in me #but each one matters and the decade plus ones PARTICULARLY matter #so nah i'm just going to angst over the ones whose reception i care about #(though thinking about it ... my most popular fic ever is one whose reception i didn't really care that much about #which feels like a lesson i should learn or some kind of personal challenge or something but NAH. CHALLENGE REJECTED)

I've got a lot of P&P hills to die on, but two ideas I will absolutely reject to the end of time:

1. Darcy or Elizabeth has a redemption arc.

Character growth is not redemption. Even while depicting their parallel character arcs, Austen emphasizes the extent to which they remain essentially the same people in terms of their basic flaws (e.g. Elizabeth's continued misjudgments via reductive schemas, Darcy's cold standoffishness upon his return to Hertfordshire), but also that they were always unusually good people despite their fuck-ups and overall arcs of improvement.

2. Darcy/Elizabeth is enemies to lovers.

There's a window of time when Elizabeth genuinely hates Darcy, though even then I don't think she regards him as her enemy. Darcy does not ever hate her or regard her as an enemy, he just initially doesn't like her or find her attractive. One-sided veiled hostility towards a social acquaintance is not enemies to lovers material, sorry.

In response to this post, elperian said:

there is that line where jane says ‘nothing could give either bingley or myself more delight. but we considered it, we talked of [lizzy and darcy] as impossible.’ so they do have a textual convo offscreen - but it’s about l/d which is funny in its own way

I replied:

Yeah, that’s what I meant when I said that it’s not that they don’t speak to each other in-story—they must have spoken on numerous occasions, of course, including those ones. It’s that Austen doesn’t bother showing any of those conversations in dialogue (unless I’m misremembering), which I think is fairly suggestive about the novel’s priorities.

rorylgilmore responded [on 5 Jan 2023]:

There’s a    ton I need   to do,           so obviously  this is the       point at which my  space bar    starts sticking.

bramblebreath said:

Dude I thought this was a blackout poem until the last 4 words.

tree said:

i came here to say that someone's going to look at this and declare it a poem but i see i've been anticipated. *innocent whistling*

[ETA 4/30/2024: This somehow got 28 reblogs, which isn't a ton, but was certainly baffling in the context of my extremely trivial post. However, the whole Internet past time of telling people "I thought you meant X until I read further and realized you meant Y" is something I find baffling, so.]

Digging up the links to so many DW tags got me wondering what tags I've actually used more than any others over here. It will probably look different after I'm done cross-posting, and maybe I'll check again then. But as of right now, the evening of 29 April 2024, this is every tag I've used over 100 times since my first post on 19 July 2009—

A. Tags used over 500 times:

1. #site: tumblr

This is far and away my most commonly used tag (used 1739 times), mainly because I've been cross-posting old Tumblr posts to Dreamwidth for years now, but also because I use it for every post referring to basically anything going on at Tumblr as well as the cross-posts.

2. #fandom: star wars

This feels like the "real" #1 tag, used 668 times and beating out all other fandoms (and indeed, everything). I suspect this is partly because I got into SW after making my DW account, but at a time when journal fandom was still quite active, so one of my most intense periods of SW fannishness was based here (or synced with lj, so the content is here as well). And then when you add in SW cross-posts and "overflow" material from Tumblr once Disney SW got kicking, especially after Rogue One, it's enough for the SW tag to jump ahead of every other tag but the Tumblr one.

3. #genre: meta

I periodically whine about feeling like I'm perceived more as a meta writer than a fic writer, even though I care more about fic and derive far more joy from it ... but I've tagged 667 posts with the meta tag and far less with any fic-related tag. In fairness, I originally conceived as "meta" as basically any post talking about a canon or fandom that wasn't fic, no matter how abrupt, so things I wouldn't really describe as "meta" these days fell under the tag until pretty recently. Even so, I've posted a lot more serious meta than fic!

4. #fandom: austen

The only surprise here is that this one wasn't even higher. I've tagged 640 posts with it over the years, and if you've followed me on Tumblr for awhile, you know there's only more coming. I'm pretty sure it'll beat out SW in the end for sheer quantity.

5. #fandom: middle-earth

While the previous three tags are clustered pretty closely together, there's a jump from the 640 Austen posts to a mere 505 Tolkien posts. This is partly because a bunch of my Tolkien stuff never made it onto Dreamwidth (that is, it happened on sites that are now dead or on lj before Dreamwidth was ever founded, or much later, was posted over at Tumblr and much of it hasn't made its way back over here). It's still one of my biggest fandoms, obviously; SW, Austen, and Tolkien will probably always be the Big Three for me.

( Read more... )

I've been thinking about ways in which Austen criticism has often fallen down wrt class analysis. Back in the 90s Julia Prewitt Brown wrote a "review" that is actually a guided tour through the failings of feminist analysis of Austen due to many things, but one of them was a failure of substantive class analysis in terms of gender. But I still see a lot of what she was talking about in both academia and more fandom or pop culture oriented interpretations—I'm inclined to think particularly when it comes from a contemporary US perspective.

I have way more thoughts about this than I have time to articulate, but I think US fans and academics in particular (though not exclusively) struggle to understand class in Austen's novels or other literature of the time in a way that is not simplified and enormously dependent on largely unfamiliar formal or legal categories rather than complex, sometimes contradictory or unpredictable, highly, highly striated structures that a quick consult of population breakdowns or tables of precedence is not going to explain. And at the same time, I think we (speaking as a US American!) often focus on the more (to us) exotic elements of 18th and early 19th-century British class dynamics rather than analyzing those dynamics in terms of class interests. These interests aren't purely financial (the understanding of class priorities purely in direct financial terms also seems very much a US perspective on it—maybe not exclusively again, idk).

Easy example, but: analysis of class in P&P tends to focus overwhelmingly on questions of exact legal status, precedence and large-scale categories (military, clergy, gentry, upper vs lower servants...), and reported income. And those things matter, for sure. But this tends to neglect how the characters perceive their own class interests (and how accurate their perception may or may not be), who their "natural" allies are, what larger social structures they benefit from or fail to benefit from (again, not only financially, though also that), their conflicts and alliances. Anne de Bourgh and Charlotte Lucas likely have either the same or quite similar ranks in formalized terms before Charlotte's marriage (as daughters of knights*) and are just about exact contemporaries, but the class structures around them are very different in ways that extend even beyond Anne's vast inheritance and Charlotte's lack of one. The image of Charlotte standing in the cold wind while a closely supervised Anne talks at her from her phaeton without any awareness of Charlotte's possible discomfort makes this seem especially stark.

This is even more glaringly apparent in something like William Godwin's Caleb Williams, in which the terrifying, relentless extent of aristocratic power over common people is represented by a country squire with six thousand a year. Legally that squire, Falkland, is no less a commoner than Caleb himself (relatedly, every member of the extended Fitzwilliam family appearing in P&P are also legally commoners). But that doesn't tell you anything about the sheer degree of power afforded Falkland and what six thousand a year signifies beyond direct buying power (that is very wealthy for the country gentry of the 1790s; it turns out a major part of his income, significantly, derives from slave plantations rather than his property in England; moreover, Falkland is able to bring power to bear everywhere Caleb goes in a way that only partly involves direct purchases).

I do seriously have to go write other things, but I wanted to get some part of this out of my head before I forget.

*Anne de Bourgh could be the daughter of a baronet rather than a knight, and thus higher-ranking than Charlotte in terms of strict precedence, but a) the distinction in precedence is so unimportant to understanding what she represents in class terms that we aren't told, and b) Sir Lewis is more likely to have been a knight than baronet IMO from what contextual information we do have.

I thirst for another direct P&P adaptation. T_T

Tagged: #there is other austen and even other regency coming out #'other' regency anyway #but at the end of the day my great love is pride and prejudice #and i want something new! #i know i know some people only get one adaptation of their fave ever if at all #and it might have major issues (*cough*) #but i'm petulant and spoiled so /shrug #look. it's pride and prejudice. do something vaguely interesting and print the money #(i was going to say a straight adaptation but i mean like... not zombies or someone's glorified fanfic #not 'heterosexual' #f/f pride and prejudice would be amazing if done remotely right ... /sigh) #imagine ... new gifsets ...