Okay I'm biting, I'm chomping down on the hook - could you tell me a little bit about the queen's thief and why I should read it?
hm. ok. so the queen’s thief is about a trickster who wants to go down in history but as soon as it starts happening he’s like NO NOT LIKE THAT. and also about the people he befriends against their will :)
it’s an ancient greece/byzantine era-inspired world that starts off very focused on one person and then as his significance grows it zooms out to show you more and more of what it becomes increasingly clear are history-making events of this land, gradually gaining perspective and quickly gaining layers and layers of political intrigue, all of which is connected on thematic levels to the mythology of this world
...but it all starts with a grimy teenager sitting in prison because he got busted for bragging about how good he is at stealing
you should read it if you love mythology, courtly intrigue, and ruthless politics being no match for the saving power of trusting those you love. if you don’t love slow, classic fantasy quest road trips maybe don’t start with the first book tho
featuring characters such as:
a thief who wants to be famous. what kind of thief wants to be famous for being a thief. gen that’s so dumb
a pure beam of sunshine who will commit acts of international violence
a guard who is having a very bad day
an accountant who is having an even worse day
a queen whom i love and adore with all my heart
a queen who has murdered many people whom i also love and adore with all my heart
Yesterday I almost cried because my baby cousin ran up to my grandmother and was like. “Ha! Buhbuh ba ha.” And she said okay you want to show me something? And he led her over to the garden patch and crouched down and pointed at rocks and plants and was like. “Ah. Habah ba ah” as she listened attentively.
And I was like that happened 1,000 years ago. Probably 10,000 years ago. Maybe 100,000. The youngest human in a group went to the oldest one and said to the best of their ability “come see.” And the adult went.
this is such a beautiful post it doesn't need my dumb addition, but i can't fit this in the tags. at the archaeological site Dolni Vestonice in the Czech Republic there are a bunch of really really fascinating finds and I'm only going to tell you about one tiny detail of one of the most interesting sites in the world.
at this settlement 20-30,000 years ago there lived a person who appears to have been a sort of sorcerer-grandmother-ceramics artist and her workshop was preserved very well in the sedimentary layers. her hut where she had her kilns was full of little sculptures of animals and people that seem to have been made to explode in the kiln on purpose, we're not sure why but nevermind. the relevant detail is that when you sculpt something with your hands and then fire it, your fingerprints can be preserved in the surface of the clay forever, so we have fingerprints of ancient ceramics artists that have survived for tens of thousands of years. and one of the major artifacts from Dolni Vestonice has a fingerprint on it that is so small it could only have belonged to a child
so this shaman-grandmother-sculptor, who was buried with her pet fox by the way, had children running through her workshop and touching everything she made while she was at her mysterious work of creating the world's oldest ceramics, none of which appear to be bowls, bottles, pots, or any "useful" items at all, but rather a collection of animal and human and sometimes anthropomorphic figures, some of which appear to be self portraits. exactly the same as sandersstudios' grandmother being led to the garden by an excited baby. we've all been the same for 30,000 years.
i think one of the worst things the left wing internet ever did was push the idea that oppression is basically a virtue, and being oppressed is a sign of your morality. it has made it like…impossible for some of you to hold the idea that most people are privileged in some ways and oppressed in others. AND a lot of you seem to have it in your mind that terrible people cannot be oppressed, and that oppressed people cannot do terrible things, which is a dangerous rhetoric to hold imo.
“I don’t like this song because I can’t relate to it” skill issue. I’m mad at my husband I love my girlfriend I’m a lone cowboy I’m growing old I’m growing up I’m depressed I love my friends I’m perpetually horny I’m drunk at the club I love my husband again
say what you will about off campus but less than ten minutes into the first episode there were two (named!) female characters talking to each other on screen which is (unfortunately) more than some tv shows (including heated rivarly lol) can say
Personally I don't think a show passing the Bechdel test means much on its own (it doesn't mean nothing, but it's just a poor metric for determining anything about a show's treatment of women overall) and I don't see why anybody would be expecting HR to pass the Bechdel test given that there aren't very many characters, it closely follows two hockey players having a private affair that necessitates a great deal of the scenes take place behind closed doors with just the two of them present, and given that the other environment they're most frequently in is the NHL. I actually especially find it kind of redundant to apply to a queer romance given that the Bechdel test was first described in a comic in which a lesbian character explains that she invented the Bechdel test out of a desperation to be able to pretend that two women on screen were lesbians. It was about being hungry for queer romance. So I think faulting HR for not passing the Bechdel test is kind of like, counterproductive. Why fault queer media for not doing something when straight media is doing the same thing and just as badly and for less reason.
If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:
Ada Palmer may just be the most bewilderingly talented person I know: a genius sf writer, incredible librettist and singer, wildly innovative educator, and a leading historian of the Renaissance, and last year, she published her magnum opus, Inventing the Renaissance, a stunning book about so much more than history:
All of my friends seem to be writing their magnum opuses these days! When (modern) historian Rick Perlstein and I did an event last year for my Enshittification tour, he told me he'd just finished his 1,000 page (ish? I may be misremembering slightly) history of the American conservative movement. And I recently had dinner with China Mieville, who told me he'd just turned in the manuscript for a novel he'd been trying to figure out how to write all his life.
I can't wait to read these books! And I couldn't wait to read Inventing the Renaissance, and I would have been much quicker off the mark but for the exigencies of book tours and books due and so on – but I've been reading it for the past two months or so, and I think I've pitched it about a hundred times to strangers and friends as I savored it, because it's just that good.
Inventing the Renaissance isn't a work of history, it's a work of "historiography" – the study of how histories get written and rewritten. Palmer's point here isn't to make us merely understand the Renaissance – she wants us to understand how the idea of a Renaissance, a rebirth out of a "dark age" into a "golden age" – has been used, abused, created and demolished, for centuries and centuries, including during the centuries when the Renaissance was actually underway.
Palmer teaches Renaissance history at the University of Chicago, where she is legendary for a unique annual pedagogical exercise in which she leads her students through a weeks-long live-action role-playing game that re-enacts the election of the Medicis' Pope. Every student is given a detailed biography of their character's position, goals, proclivities and history, and for weeks, the students scheme, ally, betray and assassinate each other. At the climax, the students take over the university's faux-Gothic cathedral, dressed in Renaissance drag (Palmer has a Google alert for theater companies that are selling off their costumes, and her tiny office at the university overflows with racks of cardinals' robes and other period garb), and they invest a Pope:
This exercise is nothing short of genius, and the students who experience it often report that it is life-changing. That's because the final candidates are never quite the same, nor are the cardinals who cast votes for the winner. And yet, there are certain bedrocks that never shift, including the fact that Italy is always invaded by some of the factions involved in the election, though which cities burn also changes.
The point of this exercise is to expose the students to the power and limits of both "great historical forces" and the human agency that every one of us has within the envelope defined by those forces. Palmer wants her students to get a bone-deep understanding that while every moment has great forces bearing down on it, that the people of each moment have an enormous amount of leeway to channel the floodwaters that history will unleash. From the servant who bears a message from one great power to another, up to those great powers themselves, each person guides the course of history, even if they can't halt some of its outcomes.
Though Palmer unpacks this exercise and its meaning and results in the final part of her magnum opus, this message about forces and people is really the key to her historiography. She develops these themes in the most charming, accessible manner imaginable, weaving her own journey into history with her accounts of how different eras consciously created and deployed the idea of "the Renaissance" and how these ideas were bolstered, undermined, or ultimately demolished by new evidence. You could not ask for a better account of why there is not, and can never be, a single, canonical "history" of an era or a moment. There will always be multiple histories, overlapping each other, warring with one another, supplanting each other, or being revived as "lost" histories that reveal a truth that "they" have buried.
This is such an ambitious book, and the ambition pays off in so many ways. Take the book's structure: there's a long middle section in which Palmer describes how more than a dozen figures from the Renaissance experienced their era, with many overlapping events and timelines. Palmer's sensitive, beautifully researched and written accounts of the lives of these figures – highborn and lowly, sinister and virtuous – highlights the contradictions of this centuries-long "moment" we call "the Renaissance" and shows us how those contradictions can't ever be resolved, only acknowledged and understood.
This is Palmer the novelist, blending seamlessly with Palmer the historian. Palmer is a close literary – and personal – ally of the equally brilliant sf/fantasy writer Jo Walton, whose work has mined classical and Renaissance history to great effect since she and Palmer struck up their friendship. First, there were Walton's "Philosopher Kings" books, a three-book long thought experiment in which every person of every era who ever dreamed of living in Plato's Republic is brought through time and space to the doomed volcanic island that will someday give rise to the story of Atlantis, to try out Plato's ideal society for real:
Then there was Lent, Walton's story of the fanatical reformer Savonarola, who is forced to re-live his life over and over, with breaks in hell where he is tormented by his failure:
And this June, she'll bring out Everybody's Perfect, a novel that uses Palmer's trick of telling a story from many viewpoint characters, each of whom perceives the events so differently that their versions can't really be reconciled, except by understanding that there is no one history and there cannot be one history. There are only the histories, ever changing. The omnipotent third person narrator is a lie. I don't know if Palmer got this idea from Walton, or if Walton was inspired by Palmer, but it is a wonderful living example of how intellectual and creative movements (like those that are attributed to the Renaissance) feed one another.
One of Palmer's areas of specialty is free speech and censorship. Along with Adrian Johns, we co-taught a grad seminar called "Censorship, Information Control, and Information Revolutions from Printing Press to Internet" that connected Ada's work to the current battles over online speech:
Palmer wants us to understand that the majority of censorship is self-censorship – that the Inquisition could only intervene in a tiny minority of cases of prohibited thought and word, and they had to rely on key people – printers, for example – anticipating the Inquisitors' tastes and limiting their speech without an Inquisitorial edict (if this seems relevant to the Trump administration's "war on woke," then you're clearly paying attention):
Those correspondences between the deep historical record and our current moment make Inventing the Renaissance extremely important and timely – a book hundreds of years in the making, and bang up to date.
stormborns
origamiaround
turnnoffyourmind
discoholicmusic
yousharknotpass
baratheonpilled
pixelskylines
