"Nothing is more despicable than respect based on fear."
Albert Camus (via historical-nonfiction)
Patti Smith by Robert Mapplethorpe, 1978
The pill was first approved in 1957 for “severe menstrual problems” and came with a mandatory “warning” that the drug would prevent pregnancy. Within two years, half a million women were taking the drug for its “side effect.”
"In the end, the question is not really about the pros and cons of trigger words. The questions are around, what are the organizing practices and strategies for building movements that recognize that settler colonialism, capitalism, white supremacy and heteropatriarchy have not left us unscathed? How do we create spaces to experiment with different strategies, as well as spaces to openly assess and change these strategies as they inevitably become co-opted? How do we create movements that make us collectively accountable for healing from individual and collective trauma? How do we create critical intellectual spaces that recognize that intellectual work is not disembodied and without material effects? How do we collectively reduce harm in our intellectual and political spaces? And finally, how can we build healing movements for liberation that can include us as we actually are rather than as the peoples we are supposed to be?"
eppujensen said: What was the most difficult but in the end most rewarding thing about writing the Glamourist series? (Or any individual book?) Any regrets, or anything you'd change post-publication?
Breaking my own preconceptions that Regency England was an all-white landscape. I’d totally bought into the white-washing of history and then contributed to it with the first two books.
In Shades of Milk and Honey, I wanted to have a diverse cast but how could I possibly do that in a small English town in 1814. Oh… I don’t know, maybe by actually representing the people who lived there? In Sanditon, Jane Austen’s unfinished novel, she has a ton of West Indian characters. Looking at the records of births, marriages, deaths, household staff… just actual history instead of what I thought I knew, would have shown me that people of colour lived throughout the British Isles.
In Glamour in Glass, I did the same darn thing. How could there be people of colour in Belgium in 1815? Maybe because they were still there from 1658 when Brueghel was doing etchings?
What amazes me is how hard it was to break that preconception, even after I became aware of it. Without a Summer, I set in London so I could have a broad and diverse cast.
Then, when I wrote Valour and Vanity, I finished and realized I’d defaulted to an all-white cast again. It’s set in Venice! A major crossroads, with a seriously diverse population. So I had to go back in and do some rewrites to make it historically accurate.
I imagine I’ll have to be rooting those preconceptions out of myself for the rest of my life. They were deep-seated and continue to be fed by the popular media — often not through malicious intent, but because creators been caught up with the same base of assumed, erroneous knowledge.
So yes, difficult, but definitely rewarding. The books are better for it.
Part of the reason I enjoy writing historical fantasy is because of the tension between real history and the imagined. Those stresses allow us to see the strain in the fabric of our own society. I find that really exciting.
"There’s really no such thing as the ‘voiceless’. There are only the deliberately silenced, or the preferably unheard"
"I have no love for America. I have no patriotism … I desire to see the government overthrown as speedily as possible and its Constitution shivered in a thousand fragments."
Frederick Douglas, declaimed in a lecture to the American Anti-Slavery Society in 1847 (via danielu92)
I’m not surprised I never heard this quote in high school. Douglas was always presented to me as like, an example of the good, docile, educated black person.