Gown, 1891. House Of Worth.

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@cuddlefishys
Gown, 1891. House Of Worth.

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I am a person who was chronically terrified of being alive for most of her life, and I still find that most advice and ideas on how to manage "anxiety" are the same: Ignore discomfort.
If you are scared of something, do it anyway. If you feel anxious, you must do things that make you scared. Get out of your comfort zone. Tell your fears they are wrong. Act as though you are not afraid. Ignore, ignore, ignore, silence, silence, silence.
It hurt me-- it is a horrible psychological weight to carry for a child to be certain that she will suffer unbearably over and over and that she will never deserve sympathy or compassion for it-- but it is also fundamentally incurious and disconnected.
If your body expresses something that is inconvenient or hard to understand, just silence and ignore it, because the things the body wants are wrong and the things the body communicates are false.
Look, I got to thinking about this when reading scientific articles about nutrition.
So much research is conducted about why people eat foods that are Wrong and Bad. But the research is conducted around an already-known truth, like a tree that has grown around a metal fence: people eat wrong and bad food because people like pleasure and avoid discomfort, and "bad" foods are pleasurable whereas healthy foods are not.
I feel a hole big enough for the wind to howl through: the joyful table, the raw ecstasy of staining my fingers with raspberries in the thicket, the peaceful bubbling of soup on the stove, salsa canned from vegetables in our garden. Stir-fried wild mushrooms, pawpaws messily devoured in the woods, the fragrance of soil and green and growing things. Curry powder. Smoked paprika. Ginger. Allspice. Garlic and onions hitting a hot pan. Nourishment. Connection. Caretaking. Safety. Pleasure. Pleasure.
Why does nobody ask, What is the goodness of food? What makes food good? Why does nobody say, Let's explore and study that goodness. Let's understand it deeply. Let's investigate the pleasure we feel, the condition of satisfaction of the things our bodies crave and need, the sense of belonging and interconnectedness that is present when good food is shared among friends. What does it mean to be nourished? To be satisfied? To feel peacefulness and comfort in the act of eating?
Comfort must be one of the least understood things in the world. No one is curious about the secrets it may hold.
Why was I burdened with the obligation to get over my fear and never encouraged to explore what would it mean to feel safe?
The goal of the therapy and medications was clear, to get my fear to a manageable enough level that I could "function" "normally." Safety was not part of it, the feeling or the reality.
The physiological functions and maladaptive thought patterns of fear were exhaustively discussed and explained to me. They only talked to me about the fear. How to ignore it. How to dominate it. How to force the physiological process of it to stop. How to manage it. How to understand and confound its patterns.
No one talked to me about safety. How it unfolded in the body. What it felt like. How to recognize when I was feeling it.
It was an attitude of profound incuriosity. I was never prompted or encouraged to ask, and no one else in the world seemed to ask: What does it mean for a person to feel safe? What does it feel like when I am safe? What things create that condition of safety? What are my safety needs? How is safety felt in my body? What can my body tell me about what I need to feel safe?
It is this flat, dull insistence that forcing oneself into what causes pain and discomfort automatically orients one in the direction of growth, whereas comfort and pleasure provide no information or guidance.
It is assumed that we all have abundant access to our comfort zones and abundant indulgence in pleasure, and therefore it is impossible that our knowledge of these things might be lacking.
good morning world who’s ready for another day of feeling slightly nauseous and weird about everything

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(guy who doesnt even like dating) ok well does anyone want to get entranced by my whole deal or no.
“I don’t like this expression “First World problems.” It is false and it is condescending. Yes, Nigerians struggle with floods or infant mortality. But these same Nigerians also deal with mundane and seemingly luxurious hassles. Connectivity issues on your BlackBerry, cost of car repair, how to sync your iPad, what brand of noodles to buy: Third World problems. All the silly stuff of life doesn’t disappear just because you’re black and live in a poorer country. People in the richer nations need a more robust sense of the lives being lived in the darker nations. Here’s a First World problem: the inability to see that others are as fully complex and as keen on technology and pleasure as you are.”
— Teju Cole (via feminizt)
sorry for how i acted when there were multiple noises happening at the same time

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Being critical of your interests is sooooo fun when you have the critic gene & then you sound kind of insane to the average tv watcher when you're like "this is my favorite show, It's Racist" & then you try to clarify what you mean & get that [Speech (legendary) - FAILURE] "the racism is really interesting though"
[Speech (legendary) - SUCCESS] I find the sociopolitical context of pulpy old sci-fi born circa the civil rights movement really fascinating to analyze especially when it was progressive for its time but still reveals the writers' unexamined biases in the subtext
Them: So you're saying its bad and I shouldn't watch it?
Me: I mean depends on your tolerance for this type of racism, but like I said it's my favourite show, it def has some great parts if you're up for it.
Them: Oh so it's not racist.
Me: It absolutely is.
Them: So you're saying racism is ok??
Me: No.
FANTASIA (1940)
dir. ben sharpsteen, david hand, hamilton luske, wilfred jackson
Getting moldy this semester
How did you get so good at writing??? Did you take classes? I feel like you should get paid all the money for this! (I subscribe to your website!)
after i dropped out of high school i found a torrent of like 5GB of OCRd romance novels and i read like 3 romance novels a day for a while
read enough romance novels and you will realize that they live or die entirely on technical skill. if you are new to romance novels then even bad ones can dazzle you with novelty but by the time you are on your 30th historical fake engagement between a bluestocking and a rakish duke you can grade them and you know when they've failed. when two books have what should be the same main characters hitting the same plot beats, but one of those books is delightful and the other fucking sucks, you learn some things. some books are bad and still delightful. other books are good but they just don't hit. you start to see the seams in the bad ones. 'oh, this is a weird out of character moment because she wanted to have the kabedon moment and didn't know how to get there'. 'she didn't want the ust to end but couldn't think of a better reason than this deus ex cockblock.' that kind of thing.
you could probably do this with other genres but i like romance because the plot is two people fall in love. that's it. everything else is set dressing. if you can figure out how to make that work you can carry it over into whatever other genre you feel like. mysteries would give you a different skillset around plotting that i don't have.
anyway after that i wrote a lot.
i said it in my original tags but i want to talk out of my ass and say that one place that a lot of current romantasy falls short for me is that it ends up being written by people who mostly read other romantasy without going back to the original genres of romance and fantasy. it's like a 'learn the rules before you can break them' kind of thing. you have all these magical macguffins to hit the tropes but can you make me believe that these characters have chemistry without that? is there chemistry, or did you tell me they're fated mates and now i'm supposed to assume this fight is sexy? does the fantasy aspect exist for anything aside from the magical macguffins? i'm not going to throw stones from inside my house made of worldbuilding designed to make all my fetishes happen, but the really fun part is when the lore spins out of control and you end up really going in depth on linguistic anthropology things that aren't relevant to the makeouts.
and the other thing is that you can't really sub in fanfic for this. plenty of fanfic takes characters from other genres and plops them into romance, but it's not the same. a good romance novel says, "here are two characters. you may know their archetypes, but you don't know them. you are going to get to know them, and you are going to love them, and you are going to want them to love each other, and when they love each other you are going to be happy for them". i love a rakish duke. when a man who's never had to do his own laundry is slutty as fuck that's my shit. but you still have to make me like him. you can take that archetype and make a guy who fucking sucks. most fanfic will not impart to you any knowledge about how to make a reader like a guy from scratch. you already know that guy. that's the whole point. fanfic with as much character building as an original work is the exception, not the rule.
the whole reason i get catty about fics that just make a different guy is that... you've made a different guy. i don't know who this guy is and i don't like him, and you haven't bothered trying to make me like him, because you slapped another guy's nametag on him like a cheat code. it's cool if you did make me like this new guy, but why is he wearing that other guy's nametag if no other aspect of him is present?
read the genres you want to write, obviously, but there's a reason the shitty comphet romantic subplot is a cliche. it's because romance is its own skillset, and if you try to fit romance in your thriller when you only read thrillers it's probably going to be the weakest part. if you want an ensemble cast then chemistry between characters is important regardless of whether they're going to fuck about it.
#this is also what i call the Star Wars Problem (although: wide category lol)#but i mean specifically the thing where george lucas watched a BUNCH of westerns and samurai films and ww2 flying ace films#and then made a space movie ABOUT high points in those other story forms#because he knew those pulp genres inside out and knew what bits he needed to hit in RAF Dambusters pulp when he added laser swords#or in western saloon showdowns when he added spaceships#but then you fast-forward a few decades and people are making star wars movies ABOUT other star wars movies#and like not many of those scenes are going to hit that way - they just wont have the chance#they’ll be a copy of a copy and the emotion is going to degrade like the worlds crustiest reformatted ocr PDF#or a xerox of a xerox of a xerox#they’ve ceased to be about the feeling generated by the Form and have become simply the Form in isolation (via harrietvane)
It feels cool to be "in" on celebrity gossip before anyone else. I ran into Californian Condor V9 and looked her up on the condor lookup website. It says her current mate is dead and she has no kids but I saw her with a new man AND a juvenile.

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New wall paintings:)
i hateeee the framing of any type of media engagement that relies on juxtaposing fun, enjoyable, 'low' art (usually [m/m] fanfiction, romance novels, genre fiction, &c.) with difficult, fufilling 'high' art (usually classics, arthouse films, &c) as like. 'fast food vs. vegetables', 'entertainment' vs 'personal (moral?) development' not the least because these aren't remotely discrete categories but also because its annoyingggg
people used to love to do this in fandom with femslash specifically and i hated it then also. do you have any idea how demeaning it is to have to hear people framing the act of reading stories about people like you as eating vegetables. as atonement for the sin of wanting to read about men fucking. come on now