I'LL MAKE YOU FUN SIZED

Dat booty just too fine

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New black is basically what I was in high school before I realized how much internalized racism I held and how it was slowly killing me.  That’s why I find New black so funny, like I was a fucking child when I subscribed to that shit.

Are New black celebs intellectually children or did the money regress them?

Filed under New black internalized racism maybe they just need to learn more about white supremacy? or maybe they need to give their money away? aka I would like some of their New black money so I can pay my Old black ass through college

1,405 notes

how-much-farther-to-go asked: Do you feel that there is racism in the ASOIAF books' representation of its PoC other than the general lack of them? (It seems like very many live in its WORLD but don't proportionally participate in the story). Which brings up another question I have: Have you ever written a post concerning the extent to which individual authors have a responsibility to represent PoC? If you have, I would very much be interested in reading it.

medievalpoc:

Absolutely.

If you want to talk about “responsibility” on the part of individual authors, you can go ahead and read it from the horse’s mouth.

He really believes he is basing this story on history, and that is his response to lack of and poor representation of people of color in his stories:

So let’s talk about the internet controversy about Oberyn Martell. Do you have any thoughts on that?

I commented on my blog. You can find a more studied response there. I made a couple of comments as to what people said about that. I always pictured Oberyn Martell in my head as a — what I call a Mediterranean type. I know people attacked me for that by saying “He’s ignorant, he doesn’t know that Africa is on the Mediterranean.” No, I know Africa is on the Mediterranean. But in common parlance, when you say Mediterranean you are thinking Greek, Italian, Spanish. When you are thinking Moroccan or Tunisian that’s North African. That’s the way people talk about that.

I always pictured the Martells and the salty Dornishman as Mediterraneans, so the casting I think is perfectly appropriate with what I wrote in the books. I do sympathize. I mean, I understand.

Some people have written me some very heartfelt letters, and I’ve tried to respond to them about how they wanted to see someone who looked like them in the books, and how they were [disappointed]. They had pictures of the Martells looking like them, and they were disappointed.

I understand that, but it still wasn’t my intent to make… Even the terminology here is such a land mine. I don’t even know what words to use here “black” or “African.” I used African at one point, sort of like African American. [But] if you use “African” you are guilty for saying all Africans are the same.

I don’t know. I am drawing from history, even though its fantasy. I’ve read a lot of history, The War of the Roses, The Hundred Years War. The World back then was very diverse. Culturally it was perhaps more diverse then our world, but travel was very difficult back then. So even though there might have been many different races and ethnicities and peoples, they didn’t necessarily mix a great deal. I’m drawing largely on medieval England, medieval Scotland, to some extent medieval France. There was an occasional person of color, but certainly not in any great numbers.

^ I consider this to be a cop out. Added on to the fact that he seems more concerned about getting criticized for using the wrong word than massive disappointment on the part of his own fan base. It more or less reeks of “everyone’s so P.C. these days! Ugh!”

I mean, there is plenty of historical precedent for even large numbers of various people of color in all of those nations. You can read articles about forensic archeology and recent discoveries that have challenged these notions to the breaking point. Like, as in 20% people of color. Take 4th Century York, England. According to Dr. Hella Eckhardt:

It helps paint a picture of a Roman York that was hugely diverse and which included among its population, men, women and children of high status from Romanised North Africa and elsewhere in the Mediterranean.

Eboracum (York) was both a legionary fortress and civilian settlement, and ultimately became the capital of Britannia Inferior. York was also visited by two Emperors, the North-African-born Emperor Septimius Severus, and later Constantius I (both of whom died in York). All these factors provide potential circumstances for immigration to York, and for the foundation of a multicultural and diverse community.

I can tell you the same things about Scotland, France, Central Europe…all these regions had seen large influxes of immigrants in the late Roman and early Medieval Eras. After all, these people didn’t just disappear hundreds of years later when historians decided a new “period” of history had begun! There’s plenty of primary sources and documentation that many specifically Black people lived and worked in various Medieval European cities and towns.

Also, speaking of Empires, there was also a rather important Mongolian Empire that happened firmly within an time frame that is pretty universally recognized as “Medieval”. Which, very unfortunately, brings us to the Dothraki.

Here’s GRRM, from the same interview, on the Dothraki:

People complain that the Dothraki are this one-dimensional barbarian society.

I haven’t had a Dothraki viewpoint character though.

I guess it’s too late to introduce one now.

I could introduce a Dothraki viewpoint character, but I already have like sixteen viewpoint characters. I could kill some of my viewpoint characters, to get down to the seven or eight I started with, or some numerical equivalent. The Dothraki are partially based on the Huns and the Mongols, some extent the steppe tribes like the Alvars and Magyars. I put in a few elements of the Amerindian plains tribes and those peoples, and then I threw in some purely fantasy elements. It’s fantasy.

Are they barbaric? Yeah, but the Mongols were, too. Genghis Khan — I just saw an interesting movie about Ghengis Khan, recently. I’ve read books about Genghis Khan, and he’s one of history’s more fascinating, charismatic characters. The Mongols became very sophisticated at certain points, but they were certainly not sophisticated when they started out, and even at the height of their sophistication they were fond of doing things like giant piles of heads. “Surrender your city to me, or we will come in and kill all the men, rape all the women and make a giant pile of heads." They did that a few times, and other cities said, "Surrender is good. We’ll surrender. We’ll pay the taxes. No pile of heads, please.”

*puts hands over face*

*groans*

Okay, let’s talk about how and why a guy who “reads a lot of history” gets this kind of idea about Mongol people, and apparently friggin Plains NDNs people as well (TW for murder gore, rape at link and f*ck you very much Mr. Martin, jeeeeebus.)

There is no equivalent for the Dothraki in history. What people point to most often is the Mongol invasions in Asia and Europe, but these generalizations are originally extrapolated mostly from the accounts from invaded nations written by someone who had heard this or that about what had happened. I’m not saying like, “such and such never happened” I’m saying it didn’t always happen, and also that there’s a lot more to the story, and also that this narrative dominates for a reason.

We’ll do an example. Here you have something like this from UWGB, which heads up their “Mongol Values” section with a supposed quote from Genghis Khan. Here’s what the claim is, right? We have this translation of something he supposedly said here:

The greatest joy a man can know is to conquer his enemies and drive them before him. To ride their horses and take away their possessions. To see the faces of those who were dear to them bedewed with tears, and to clasp their wives and daughters in his arms.

Okay, so basically, Conan the Barbarian. The article, which, might I remind you, is on a college site, goes on from this to say:

Or to paraphrase it in the bluntest possible modern terms: “To kill people, take their property, see and enjoy the pain you have caused their families, and rape their women as a final gesture of power.”

Okay, well that’s is a pretty big “I decided this means exactly what I already expected someone I think Genghis Khan was like would say.”Even if you did decide to take this at face value…that’s still not the casual attitude toward sexual violence the Dothraki demonstrate, it’s the opposite.

I could go into how women in Mongol culture had a great deal of power (which doesn’t necessarily translate into conquered women being perceived as equivalent, but might I remind you that Dothraki women in ASOIAF appear to be chattel with zero bodily autonomy evidence of sentience, for the most part), or how women having sociopolitical power does not equal a lessening of sexual violence by necessity….but.

I could mention that the way in which Genghis Khan was able to stabilize and actually rule such a vast empire was by giving conquered MEN to his DAUGHTERS in marriage, but then took these husbands out on campaign with him, and replaced them as needed when they died. Or that his empire was actually inherited by his daughters.

And then this article goes on to make statements about we know from Genghis Khan’s attitudes and sadistic enjoyments (more or less) that hope for humanity’s goodness will always be futile, because there will always be Hitlers and Stalins.

^^^That is their section on “Mongol Values”. D:

Soooooo……yeah.

People who claim that GRRM’s Dothraki are realistically based on Mongolian or Plains NDN culture are pretty much in “Einstein and Hammurabi Disco Dance in a Hot-Air Balloon" territory.

Thanks to Historians like the above and GRRM, people think “Mongolian=pile of heads, nonstop rape” . There’s no Khutulun, Wrestler Princess, among the Dothraki. There is no Queen Manduhui, no Lady Hö’elün, no Empress Chabi, no Sorghatani Beki, no mention of The Great Khanum and eight princesses Ruy González de Clavijo saw and marveled at in 1403.

GRRM took a society of women who could own property, divorce at will, hold political office and positions of military command, and replaced them with visibly dirty, grunting animals being raped publicly in the dirt [tw link for an image of what i just described].

Because “historical accuracy”.

Because oh, well it’s already done and it’s too late to change it now.

Actually, all of it sounds incredibly familiar:

image

"We cannot simply change it"

"I could introduce a Dothraki viewpoint character, but I already have like sixteen viewpoint characters"

"I guess it’s too late to introduce one now."

It’s always too little, too late, try again, make your own, better luck next time.

So, when do we get to stop being force-fed vile stereotypes with our fantasy? When do we get wish-fulfillment and escapism?

The bottom line is, I don’t know because the this is the industry right now:

image

How are supposed to break the vicious cycle of whiteness in publishing, whiteness of SF/F authors, whiteness of characters, othering, misogyny, degradation, stereotypes, and a history of a Black-White Good-Evil dichotomy?

Why does it matter? Because people think this is real, people think this is accurate, people think this is acceptable, people think this is historical, including, apparently, the people who are writing these stories.

We must change the narrative to change our stories, because lies about the past are in danger of dictating our futures.

People always ask me if I watch GoT to which I respond “No, cuz I haven’t read the books.” Then they ask me why I haven’t read the books and I say I don’t have time right now.

What I really mean is everything in the above.  I don’t have the emotional/psychological time nor the patience to invest in another problematic series or fandom.  I can barely keep up with the ones I’m already a part of.

Filed under Game of Thrones GoT George R.R. Martin media representation I'll watch GoT when I'm on my deathbed

320 notes

victoriouskofi:

poc-creators:

You should know Aliette De Boudard

This is the home page of Aliette de Bodard, writer of fantasy and science fiction (and the very occasional horror piece). Aliette has won a Nebula Award, a BSFA Award, as well as Writers of the Future. She has also been nominated for the Hugo, Sturgeon, Locus and Campbell Awards.

Her Aztec mystery-fantasies, Servant of the Underworld, Harbinger of the Storm, and Master of the House of Darts, are published by Angry Robot, worldwide.

Her short fiction has appeared in a number of venues, such as Interzone, Clarkesworld Magazine, Asimov’s, and The Year’s Best Science Fiction.

She lives in Paris, France, in a flat with more computers than she really needs, and uses her spare time to indulge in her love of mythology and history–as well as her love of cooking (the recipe page can be found here).

As a Franco-Vietnamese, Aliette has a strong interest in Ancient Vietnam and Ancient China, and will gladly use any excuse to shoehorn those into her short or long fiction.

A more extensive biography is available here, and a list of her fiction can be found here.

In the resources section, you will also find Aliette’s schedule and her list of essays on science, culture, cultural appropriation and other genre-related stuff.

One of my fav of those essays is this: Drawing Inspiration from fantasy further afield:fantasy set in nonwestern cultures

The main goal when starting a piece is to move my default thinking from 21st-century France to, say, 15th-century Mexico, for the duration of writing. I always want to get to the point where it is mostly unconscious: this ensures I don’t need to think about making my characters “feel” Aztec, but can instead focus on their motivations and behaviour as individuals, while being sure that I don’t have them say anything spectacularly wrong (such as, for instance, expressing atheist ideas in a culture where religion remained a bedrock). The problem, I’ve noticed, is my default: when I’m not paying attention, it reverts to what I was raised with (and I think most people are the same. It takes an effort to see things from the perspective of someone else. I’m not saying it’s impossible, just that it’s seldom unconscious). This means that, in the midst of a scene, I can have characters spouting ideas about male and female equality (a superb notion, but a totally anachronistic one); or that my plot twists will suddenly rely on something typically modern such as belief in individual freedom (again, anachronistic for the time period). So I’d rather have a thick layer of period thinking underneath when writing. This involves reading. A lot. I pick primary sources (literature from the time period); secondary sources (scholarly articles, books for the general public); and children’s books (which tend to be sparser on the grander details of history, but a lot more focused on the nitty-gritty details of everyday life, invaluable for a novelist). It’s not always obvious to find such sources: it is way easier to find books about Medieval England than about Ming dynasty China or the Aztecs. But they do exist, and there are also a precious few internet resources which can be looked up online (with the usual caveat on reliability). MORE

On the reading list…

Filed under Aliette De Boudard summer reading sff writers of color

31 notes

radicalrebellion:

Seriously, why does the media ALWAYS act fucking shocked when racist/antiblack shit happens?

"OMG white ppl freaked out over a bi-raical couple in a Cheerios commercial." 

"Oh no, Black father posts pic taking care of his kids! What is going on?" 

Like, the media spends 99% of its time either erasing Black people from spaces (Girls, Friends, etc) or only casting Black ppl as part-time goof ball sidekicks or criminals. 

They perpetuate the majority of these stereotypes, then pretend to be shocked when whites openly express the belief in these stereotypes. 

FUCKING TRUTH

Filed under media representation media underrepresentation this fucking this