feeling so incredibly unwell

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feeling so incredibly unwell

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ik we were talking the other day about necromancers who refuse to eat their cavaliers [ntn spoilers at the link], but there is something also about a particular type of cavalier who doesn't refuse to be eaten so much as they remind everyone around them that what is being eaten when a cavalier dies is a full human being and not an animal or an object. even given the collective disgust at the eighth house's practice of soul siphoning, which is sort of taboo because of how indiscreet it is, there is rarely a recognition of colum as a fully agentic person, because he has been so carefully bred as battery and because he is so often drained of life as to be rendered inert and unspeaking. but there is something about ortus refusing the stoicism and eagerness for death that is typically expected from cavaliers, and something also about jeannemary's relative youth and resultant lack of composure which makes the people around them uncomfortable because they do not comport themselves like devoted servants or eager attack animals whose greatest wish is to be able to fight and die. they act like what they are; human beings who are caught in a web of dehumanization and death and devotion that is slowly killing them. there is so much cultural work invested into creating a discursive linkage between cavaliers and livestock and batteries and other things that are less human and more fuel, precisely so that those who take their lives do not have to reckon that exchange as a murder but as something rather less gruesome. and the horror that results when cavaliers fail to act the part is precisely because this threatens to shatter the illusion for everyone else, to peel the respectable veneer off the cultural practice of "training cavaliers" and reveal it for what it is; the cultivation of human beings for the express purpose of ritualized slaughter. there is something very noble, if ultimately futile, about a cavalier who says with their very mode of being: i refuse to be made anything less than human. you can kill me, but you'll know it for the murder it is.
and i live by that!
[ID: Making-killable. I recently had a wonderful visit with Donna Haraway who suggested I consider the process of making-killable (as well as interspecies ethnography) when it comes to my Cyclops and her cave of sheep. Haraway and others describe making killable as a way of making sub-human, of transforming beings into masses that can be produced and destroyed, another form of empire’s mass production. Making-killable turns people and animals into always already objects ready for violence, genocide, and slavery. end ID]
a glossary of haunting (2013) by eve tuck and c. ree
rewatching riverdale pilot. first ever textual reference to archie is just full zoomorphism. guess ill die :)

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[ID 1: The cultural effort to objectify and later reobjectify African Americans found rich potential in doll play and doll literature, because all stories about sentient dolls reorganize the boundary between human and thing. As Lois Kuznetsk observes, sentient dolls in literature “embody human anxieties about what it means to be ‘real’ — an independent subject or self rather than object or other. Around the time of the American Civil War, books about sentient dolls increased in popularity, and dolls in these books discuss their racial status, their duties to their owners, and even their relationship when enslaved people of African descent. The doll narrator of Julia Charlotte Maitland’s The Doll and Her Friends (published in 1852, the same year as Uncle Tom’s Cabin) describes dolls as “a race of mere dependents; some might even call us slaves.” The narrator pointedly informs the reader, however, that she is “not a negro doll, with wide mouth and woolly hair. In this children’s book and many others, dollness itself is a racial category that denotes servitude. White-authored dolls in literature asserted their race’s natural servitude exactly as abolition and later Emancipation challenged the belief that African Americans were constitutionally enslaveable.
ID 2: This dialogue’s connection between the ownership of sentient dolls and the ownership of human beings is unusual only in its explicitness. From the mid-nineteenth century through the early twentieth, ideas and anxieties about racial slavery flowed as a steady, ominous undercurrent through much doll literature and through the physical properties of specific dolls. Dolls, as signs of childhood and property of many children, create propinquity between the idea of childhood and the racial project of determining who is a person and who is a thing; thus dolls tuck racial politics beneath a cloak of innocence. end ID]
robin bernstein, from racial innocence: performing childhood from slavery to civil rights
[ID: Redressing the pained body encompasses operating in and against the demands of the system, negotiating the disciplinary harnessing of the body, and counter investing in the body as a site of possibility. Pain must be recognized in its historicity and as the articulation of a social condition of brutal constraint, extreme need, and constant violence; it is the perpetual state of managed depletion, of broken bodies and shattered persons, of soul murder and sinlessness. It is the embodied experience of stolen life and social death. Pain is a normative condition that encompasses the legal subjectivity of the enslaved, which is constructed along the lines of injury and punishment, the violation and suffering inextricably enmeshed with the pleasures of minstrelsy and melodrama, the operation of power on black bodies, and the life of property in which the fully enjoyment of the slave as thing supersedes the admittedly tentative recognition of slave humanity and permits the intemperate uses of chattel. This pain might best be described as the history that hurts — the still-unfolding narrative of captivity and dispossession that engenders the black subject in the Americas.
If this pain has been largely unspoken and unrecognized, it is due to the sheer denial of black sentience rather than the inexpressibility of pain. The purported immunity of blacks to pain is absolutely essential to the spectacle of contented subjection or, at the very least, to discrediting the claims of pain. The black is both insensate and content, indifferent to pain and induced to work by threats of corporal punishment. These contradictions are explained in part by the ambiguous and precarious status of the black in the “great chain of being,” by pathologizing the black body, and this aberrant condition then serves to justify acts of violence that exceed normative standards of the humanely tolerable, though within the limits of the socially tolerable as concerned the black slave.
Pain is essential to the making of productive slave laborers. The sheer enormity of this pain overwhelms or exceeds the limited forms of redress available to the enslaved. In light of this, the significance of the performative lies not in the ability to overcome this condition or provide remedy but in creating a context for the collective enunciation of this pain, transforming need into politics and cultivating pleasure as a limited response to need and a desperately insufficient form of redress. end ID]
saidiya hartman, scenes of subjection
[ID: At stake in pain was not only justification for violence but also eligibility for citizenship and humanity. Visible pain, or what Lauren Berlant calls the "trumping power of suffering," established individuals' and groups' subjectivity -- and therefore, Linda Williams adds, their worth as citizens. Elizabeth B. Clark has shown that abolitionists understood the libel of black insensateness to disqualify African Americans from what Elaine Scarry has called the world-making properties of pain. Abolitionists understood a century and a half before Scarry that "the story of physical pain" is "a story about the expansive nature of human sentience, the felt-fact of aliveness. The stakes of pain are nothing less than the stakes of sentience, of humanity itself. end ID]
robin bernstein, from racial innocence: performing american childhood from slavery to civil rights