Peeta Mellark. Thats It.

I want to reiterate this addition, because it's something that's been bothering me a lot about this discussion: death of the author is a tool of literary analysis. It means that you are putting aside authorial intent in your analysis. So saying "you can't apply death of the author to J. K. Rowling" is very wrong. You can and should apply death of the author to Harry Potter, otherwise we would not be able to discuss all the racism, misogyny, antisemitism, transmisogyny, orientalism and classism baked into the text, since 1) she, the author, would never admit to reproducing these biases in her text intentionally and 2) since she would not admit intent, an analysis that prioritized authorial intent wouldn't be able even consider these issues, since it would have to recognise them as unintentional, subconscious biases, and therefore, according to the authorial intent criteria, dismiss them altogether. This is why death of the author is so instrumental to literary analysis. It allows us to stop arguing endlessly about what the author wanted to do with a text, and focus on what the text actually achieved. And in the realm of an author's biases, it allows us to criticize, firmly. Because if you say, "Well, J. K. Rowling didn't mean for the goblin bankers to be antisemitic caricatures," I can say, death of the author; her intent is irrelevant. The goblin bankers are antisemitic caricatures.

I want to reiterate this addition, because it's something that's been bothering me a lot about this discussion: death of the author is a tool of literary analysis. It means that you are putting aside authorial intent in your analysis. So saying "you can't apply death of the author to J. K. Rowling" is very wrong. You can and should apply death of the author to Harry Potter, otherwise we would not be able to discuss all the racism, misogyny, antisemitism, transmisogyny, orientalism and classism baked into the text, since 1) she, the author, would never admit to reproducing these biases in her text intentionally and 2) since she would not admit intent, an analysis that prioritized authorial intent wouldn't be able even consider these issues, since it would have to recognise them as unintentional, subconscious biases, and therefore, according to the authorial intent criteria, dismiss them altogether. This is why death of the author is so instrumental to literary analysis. It allows us to stop arguing endlessly about what the author wanted to do with a text, and focus on what the text actually achieved. And in the realm of an author's biases, it allows us to criticize, firmly. Because if you say, "Well, J. K. Rowling didn't mean for the goblin bankers to be antisemitic caricatures," I can say, death of the author; her intent is irrelevant. The goblin bankers are antisemitic caricatures.

I just know coriolanus was sweating and pissing himself when he saw all of them, the most rebellious and dangerous victors, holding hands and standing in solidarity. He had NO IDEA what he had just done

Happy Father's Day to Katniss Everdeen, who looked at Peeta Mellark, a teenage boy that the reader never sees interacting with younger children, and said, "yeah, that's the guy who needs to be a parent."

"Being both a cinnamon roll and a battlefield trauma victim is a tough job but someone's gotta do it."

Haymitch and Peeta happily in love with girls who can sing: