This week, we have the pleasure of sharing the lovely works of @thebloggerbloggerfun​​!

We’re so excited for her beautiful stories to hit your dash! As always, if you would like to see your creations featured on this blog this Saturday, be sure to use our tracked tag #spncreatorsdaily when posting!

Banner was made by the talented @litlifelover​

Here is week 90, Everlark lovers! As always, thank you to these amazing authors who provide me with endless amounts of entertainment. You are all amazingly talented! Readers-please make sure you show these authors some love!If you’d like to check out my previous posts, follow #rachel’s fanfic lists or search the tag on my blog. Happy reading!

The Drabbles Collection - merciki aka @thegirlfromoverthepond

The House Husband - @herainab

Cursed - ofpearlsandshoelaces aka @everlarkstoastbabies

Uncharted Depths - shiningcity aka @shining-city

Damaged, Broken, and Unhinged - rosefyre aka @rosefyrefyre and fanficallergy

The Coin Laws - redheadedflame

The Pearl of the Antilles - titania522 aka @titaniasfics

Outside Expectations - @katnissdoesnotfollowback

On Borrowed Time - panskiss123

Clip One of Queer China, Comrade China (誌同志) by Cui Zi'en (崔子恩). 2008.

Born 1958 in Heilongjiang, China, Cui Zi'en is a writer, director, film scholar, as well as one of China’s most outspoken queer rights activists. Having made a name for himself as a prolific underground avant-garde filmmaker, Cui’s films showcase the reality of homosexuality in China, bringing gay rights into Chinese culture and public awareness. Cui is also the founder of the Beijing Queer Film Festival, the first LGBT film festival in mainland China.

Queer China, Comrade China documents the changes and developments in queer culture that have taken place in China over the last 80 years. The film examines how shifting attitudes in law, media and education have transformed queer culture from being an unspeakable taboo to an accepted social identity. The film culminates with the submission of Dr. Li Yinhe’s Same-sex Marriage Bill to the Legislative Affairs Commission of the National People’s Congress in 2003, a major landmark event in the ongoing struggle for acceptance of queer identity in China.

Excerpt from “The Lament” (“离骚”) by Qu Yuan (屈原). Further translations available online. Warring States period. 

In celebration of the Duanwu Festival (端午节), occurring today on the fifth day of the fifth month of the lunar calendar, Sine Theta Magazine is featuring the most renowned epic work by poet-minister Qu Yuan, “The Lament.” Qu Yuan served as a high-ranking cabinet member of the ruling house of Chu during the Warring States period but was exiled by scheming political rivals for opposition of the Chu alliance with the increasingly powerful Qin state. Banished to the south of the Yangtze River, Qu wandered southern Chu in despair, writing copious volumes of poetry inspired by shamanistic rituals and customs he observed. Twenty-eight years after his exile, the Qin captured the capital of the Chu kingdom, and Qu, ever faithful to his kingdom, committed suicide in the Miluo River. 

Locals loyal to him rushed to search for his body to no avail. To deter the fish from consuming his corpse, they dropped dumplings and balls of sticky rice into the water. This hunt originated the Duanwu Festival, including the traditions of eating zongzi (粽子), sticky rice wrapped in leaves, and racing dragon boats. 

St Arbre - Feu Blanc by Yang Jiechang. Ink and mineral colors on silk mounted on canvas. 2009-2010.

Born in Foshan, China and currently based in Paris, France and Heidelberg, Germany, Yang Jiechang is a Chinese contemporary artist and photographer. Yang grew up around the time of the Cultural Revolution and briefly joined the red guards before attending the Guangzhou Academy of Fine Arts (1978–1982), where he was trained in calligraphy and traditional Chinese painting. Yang’s style meshes Eastern with Western styles to create an aesthetic he calls “Eurasian”: “Eurasia is the land I experience everyday in my life: I am from Canton, China, my wife is from Germany, our children are Eurasian. We feel this land; this disposition and lifestyle bear a lot of possibilities and power.”

St Arbre - Feu Blanc translates into “St. Tree - White Fire” from French. Yang’s “Eurasion” is visible in this piece’s combination of German romanticism and Daoism. The subject, a tree, alludes to 朴 (“Pu” meaning unworked wood), the metaphor representative of the Daoist doctrine 自然 (“Ziran” meaning naturalness). The “blasted tree” is also a romantic symbol of the cycle of life and death. Yang’s purifying white flames draw upon romantic notions of mystical forces of nature and destruction. The piece was featured in Yang’s two-part exhibition “Tale of the 11th day” which presents a paradise based on Giovanni Boccaccio’s The Decameron, a 14th century frame story of novellas. The exhibition’s title is meant to extend the 10th day in the book. Themes of purification and spiritual liberation are conveyed in Yang’s imagined paradise.

You can reblog this post and do em all now, save 'em and find 'em as you have the energy/time, or just use it as a heads up for what's comin'.

Up to you!

All I ask is that you use the #sipofsnips tag so people can find each other's snips and get excited about writing.