23 7 / 2014

22 7 / 2014

(via dailymurf)

22 7 / 2014

22 7 / 2014

"I want to live the rest of my life, however long or short, with as much sweetness as I can decently manage, loving all the people I love, and doing as much as I can of the work I still have to do. I am going to write fire until it comes out of my ears, my eyes, my noseholes—everywhere. Until it’s every breath I breathe. I’m going to go out like a fucking meteor"

Audre Lorde (via feniceargento)

(via dailymurf)

21 7 / 2014

the-library-and-step-on-it:

Persephone Books

Persephone Books reprints neglected fiction and non-fiction by mid-twentieth century (mostly women) writers.

(via lesbianlegbreaker)

14 7 / 2014

dynastylnoire:

OMG…this is really happening and the mother is a black teen.

(via lesbianlegbreaker)

13 7 / 2014

la-xingada:

an-sau-rieng:

Leila Khaled breaks down in tears after receiving a tile from her home back in Haifa.

A place she and 5 million other Palestinians are not able to return to.

So the interviewer goes to Israel, visits the home that Khaled grew up in and but can never return to, collects a tile and brings it back to her.

That is the reality of many Palestinians who still have their keys to their homes in hopes to return.

Palestinians still have keys to their homes that Israeli settlers sleep in. 

This person who is Swedish is able to go Palestine, while Palestinians are confined and never allowed to visit their homes that were stolen from them. 

(via everythingisexactlythesame)

13 7 / 2014

"

Recently, my husband and I burned through S1 of Orphan Black, which, as promised by virtually the entire internet, was awesome. But in all the praise I’d seen for it, a line from one review in particular stuck in my mind. The reviewer noted that, although the protagonist, Sarah, is an unlikeable character, her grifter skills make her perfectly suited to unravelling the mystery in which she finds herself. And as this was a positive review, I kept that quote in mind when we started watching, sort of by way of prewarning myself: you maybe won’t like Sarah, but that’s OK.

But here’s the thing: I fucking loved Sarah. I mean, I get what the reviewer was trying to say, in that she’s not always a sympathetic character, but that’s not the same as her actually being unlikeable. And the more I watched, the more I found myself thinking: why is this quality, the idea of likeability, considered so important for women, but so optional for men – not just in real life, but in narrative? Because when it comes to guys, we have whole fandoms bending over backwards to write soulful meta humanising male characters whose actions, regardless of their motives, are far less complex than monstrous. We take male villains and redeem them a hundred, a thousand times over – men who are murderers, stalkers, abusers, kinslayers, traitors, attempted or successful rapists; men with personal histories so bloody and tortured, it’s like looking at a battlefield. In doing this, we exhibit enormous compassion for and understanding of the nuances of human behaviour – sympathy for circumstance, for context, for motive and character and passion and rage, the heartache and, to steal a phrase, the thousand natural shocks that flesh is heir to; and as such, regardless of how I might feel about the practice as applied in specific instances, in general, it’s a praiseworthy endeavour. It helps us to see human beings, not as wholly black and white, but as flawed and complicated creatures, and we need to do that, because it’s what we are.

But when it comes to women, a single selfish or not-nice act – a stolen kiss, a lie, a brushoff – is somehow enough to see them condemned as whores and bitches forever. We readily excuse our favourite male characters of murder, but if a woman politely turns down a date with someone she has no interest in, she’s a timewasting user bimbo and god, what does he even see in her? Don’t get me wrong, I’ve seen some great online meta about, for instance, the soulfulness and moral ambiguity of Black Widow, but I’ve also seen a metric fucktonne more about what that particular jaw-spasm means in that one GIF of Cumberbatch/Ackles/Hiddleston/Smith alone, and that’s before you get into the pages-long pieces about why Rumplestiltskin or Hook or Spike or Bucky Barnes or whoever is really just a tortured woobie who needs a hug. Hell, I’m guilty of writing some of that stuff myself, because see above: plus, it’s meaty and fun and exactly the kind of analysis I like to write.

And yet, we tend overwhelmingly not to write it about ladies. It’s not just our cultural obsession with pushing increasingly specific variants of the Madonna/Whore complex onto women, such that audiences are disinclined to extend to female characters the same moral/emotional licenses they extend to men; it’s also a failure to create narratives where the women aren’t just flawed, but where the audience is still encouraged to like them when they are.

Returning to Orphan Black, for instance, if Sarah were male, he’d be unequivocally viewed as either a complex, sympathetic antihero or a loving battler with a heart of gold. I mean, the ex-con trying to go straight and get his daughter back while still battling the illegalities of his old life and punching bad guys? Let me introduce you to Swordfish, Death Race, and about a millionty other stories where a father’s separation from a beloved child, whether as a consequence of his actual criminal actions, shiftless neglect, sheer bad luck or a combination of all three, is never couched as a reason why he might not be a fit parent. We tend to accept, both culturally and narratively, that men who abandon their children aren’t automatically bad dads; they just have other, important things to be doing first, like coming to terms with parenthood, saving the world, escaping from prison or otherwise getting their shit together. But Sarah, who left her child in the care of someone she trusted absolutely, has to jump through hoops to prove her maternal readiness on returning; has to answer for her absence over and over again. And on one level, that’s fine; that’s as it should be, because Sarah’s life is dangerous. And yet, her situation stands in glaring contrast to every returning father who’s never been asked to do half so much, because women aren’t meant to struggle with motherhood, to have to try to succeed: we’re either maternal angels or selfish absentees, and the idea that we might sometimes be both or neither isn’t one you often see depicted with such nuance.

"

Gender, Orphan Black & The Meta Of Meta

read this, read it right now it’s absolutely genius.

(via sarahcosima)

(Source: knowlesian, via lesbianlegbreaker)

09 7 / 2014

08 7 / 2014

femmeanddangerous:

decadentspiral:

Does anyone else get goosebumps when Ian Duncan Smith is confronted and humiliated by his actions?

She fucking killed it.

(via goodoldfashionednightmares)

08 7 / 2014

purityinmyheart:

alexithymia-daily:

Because of Them, We Can

BEAUTIFUL

I adore this :) Put a real smile on my face.

(Source: alexithymiadaily, via teutonicpunnery)

08 7 / 2014

"Forget stardust—you are iron. Your blood is nothing but ferrous liquid. When you bleed, you reek of rust. It is iron that fills your heart and sits in your veins. And what is iron, really, unless it’s forged?

You are iron.

And you are strong."

n.t.  (via perfect)

(via drpepper10)

07 7 / 2014

07 7 / 2014

05 7 / 2014

scionoflorelei:

buenz:

aviatorsmusic:

How do cats even work?

Prime catlike reflexes

That fifth one… I didn’t even know cats could do that.

And the third one is hilarious xD

(Source: shanedora, via everythingisexactlythesame)