“[People don’t have to suffer to be an artist] I have suffered, but I haven’t developed a narcissistic adiction to the idea of being a suffering artist. I feel like there’s this hangover from german romanticism that says that if you are not miserable and making everyone around you miserable then you are not a serious artist.”—
I don't understand, what are your feelings on the problem of Susan? I take it most people are angry, or at least disappointed, about the implications of her ultimate fate. You don't think it was problematic?
Of course it is. It comes out of virtually nowhere and is very, very gendered. What I dislike is the constant, uncritical parroting of things like this, which is virtually the only thing I ever see about her:
“There comes a point where Susan, who was the older girl, is lost to Narnia because she becomes interested in lipstick. She’s become irreligious basically because she found sex. I have a big problem with that.” (JK Rowling)
(Note: I do not like Faramir in the movies, and this is mostly an exploration of their differences from that perspective. I tried to avoid bashing, but eh. It’s also really long, much longer than I originally expected. You can watch/listen to the whole thing here.)
I think I’ve finally—after all these years—had an epiphany about movie Faramir vs. book Faramir. How the discussions generally seem to go is this:
Faramir = nice and mild, thus where movie Faramir = nice and mild, movie Faramir = book Faramir. Where movie Faramir comes across as morally unjust, movie Faramir not only isn’t book Faramir, but falls outside the acceptable range of Faramirness. These unacceptable breaks are regarded as lapses in his character, inconsistencies between mostly-like-Faramir and not-at-all-like-Faramir.
On the other hand, if we look at movie Faramir’s character as a whole, I think two critical traits emerge. One, he’s generally accommodating, good-natured, and conflict-averse (not willful or independent; also not scholarly or otherworldly). Two, he’s overpoweringly driven by the desire to earn the affection and approval of his father—it defines who he is in a very large part, and is his overriding motivation for everything.
It’s not that he’s ‘not exactly like book Faramir,’ but rather, exactly what his defenders always said: he’s a different person. He doesn’t have OOC lapses now and then; his personality is radically, and consistently, different.
Heh I always feel one learns a great deal about the religious worldview of authors based on how they “solve” Susan.
I feel one learns a great deal about their reading comprehension.
(And I think there are many valid interpretations of the text, that Susan as written is problematic, etc etc, but virtually every Problem of Susan thing I’ve encountered is just painfully smug and unnuanced and preachy. Bleh.)
Friendly reminder that Húrin and Huor were so close that Húrin was captured defending his little brother’s body. Their sons, Túrin and Tuor, passed each other on the road as strangers, and never exchanged a word. (◕‿◕✿)
reblogging for relevance to this morning’s dash. though the whole thing could be summed up with one sentence:
But why is it perfectly fine for a red-haired actor in a blond wig to play the part of a black-haired character because they’re cast for talent not appearance, yet THE ENTIRE CAST must be white because it’s Tolkien’s vision?
I’ve been meaning to post my personal favourite of my fics for awhile. I figured I’d do it now for Juliana’s exception—my genderswapped retelling of Pride and Prejudice :)
title: First Impressions (Chapter One)
stuff that happens: When Henry Bennet, only son and heir to an eccentric country squire, crosses paths with Catherine Darcy of Pemberley, she publicly insults him and runs interference in his sister’s romance. Naturally, proposals, matchmaking messes, an elopement, an abundance of mixed signals, and massive misunderstandings ensue.
“Capitalism would have us believe that we only deserve to be here because of what we produce, and even in our counter- cultures, even in our movements we reproduce the same idea. We only deserve to be here because of what we can produce that other people will buy with their money, time or attention. Our experience of our own lives is secondary, it is only the means of production, it is the products that matter, and unless we make ourselves into both factories and widgets we are not valuable.”—