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@qviddity
AMY ADAMS as CAMILLE PREAKER
Sharp Objects
(2018)
this week i read a compendium of interviews with Toni Morrison and there was this one excerpt that's had me on the verge of tears for days. let me see if i can find it online
from Toni Morrison on Love and Writing, a 1990 interview with Bill Moyers on PBS TV [x]
MOYERS: As I listen to you talk about the liberation of motherhood and love, I find all the more incredible Sethe’s willingness to kill her son—
MORRISON:: Oh, yeah.
MOYERS: —Rather than let the slavecatcher kidnap him. Was that a far-out figment of your imagination to make a dramatic point, or did you find in your research into the past there were mothers willing to do that?
MORRISON:: That was Margaret Garner’s story. There was a slave woman in Cincinnati named Margaret Garner who escaped from Kentucky; arrived in Cincinnati with her mother-in-law. The situation was a little different; I think she came with four others. And right after she got there, the man who owned her found her. And she ran out into the shed and tried to kill all her children, just like that. And she was about to bang one’s head against the wall when they stopped her. Now, she became a cause celebre for the Abolitionists, because; you see, they were trying to improve the situation a little bit and get her tried for murder, because that would have been a big coup, if they had gotten her tried for murder. Because it would assume that she had some responsibility over those children. But they were not successful. She was tried for the real crime, which was stolen property, and convicted and returned to that same man. But what struck me, because I didn’t want to know a great deal about her story because there would be no space for me to invent — was that when they interviewed her, she was not a mad dog killer, she was this very calm, you know, in her 20s, woman. And all she said was, “They will not live like that. They will not live like that.” And her mother-in-law, who was a preacher, said, “I watched her do it, and I neither encouraged her nor discouraged her.” So for them, it was a dilemma. This is a real dilemma. “Shall I permit my children, who are my best thing, to live like I have lived, and I know that’s terrible, or to take them out?” So she decided to kill them, and kill herself. And that was noble. That was the identification. She was saying: “I’m a human being. These are my children. This script I am writing.”
MOYERS: Could you have put your — did you ever put yourself in her position, and ask—
MORRISON:: In the writing of the book, yeah.
MOYERS: —could I have done that to my three sons?
MORRISON:: I asked it a lot. As a matter of fact; the reason the character Beloved enters is because I couldn’t answer it. I felt just like Baby Suggs. I didn’t know whether I would do it or not. You hear stories of that in slavery and Holocaust situations, I mean, where women have got to figure it out fast, I mean really fast. So the only person I felt who had the right to ask her that question was the child she killed.
MOYERS: The child.
MORRISON:: And she can ask her: “What did you do that for? Who are you talking about? This is better? What do you know?” Because I just — it was, for me, an impossible decision. Someone gave me the line for it at one time, which I have found useful, is that it was the right thing to do, but she had no right to do it.
MOYERS: And you’ve never answered it in your own case, “Could I do it?”
MORRISON:: I’ve asked. I don’t know.
"the only person I felt who had the right to ask her that question was the child she killed" has been ringing in my head. there is no truer thing in the world.
SEX AND THE CITY (1998-2004)
2.13 | "Games People Play"
morning/night person is a false dichotomy because its impossible to have any energy at any point of the day
아가씨, 2016
Aristotle’s modes of persuasion ♛
Ah, Lila the shoemaker,
Lila who imitated Kennedy’s wife,
Lila the artist and designer,
Lila the worker,
Lila the programmer,
Lila always in the same place
and always out of place.”
If thoughts were hammers or picks I should have been free, ten thousand times over. But my thoughts were more like poisons. I had so many, they made me sick.
Fingersmith (by Sarah Waters)
“I dreamed I loved her. I knew I hated her. I knew I wanted to kill her. But sometimes I would wake, in the night, not knowing.”
—
Sarah Waters, Fingersmith
Sarah Waters, Fingersmith
But, here was a curious thing. The more I tried to give up thinking of her, the more I said to myself, ‘She’s nothing to you,’ the harder I tried to pluck the idea of her out of my heart, the more she stayed there. All day I sat or walked with her, so full of the fate I was bringing her to that I could hardly touch her or meet her gaze; and all night I lay with my back turned to her, the blanket over my ears to keep out her sighs. But in the hours in between, when she went to her uncle, I felt her - I felt her, through the walls of the house, like some blind crooks are said to be able to feel gold. It was as if there had come between us, without my knowing, a kind of thread. It pulled me to her, wherever she was. It was like - It’s like you love her, I thought.
Sarah Waters, Fingersmith
the erasure of the rape element in mythological retellings is so heinous it borders on misogyny
it’s the idea that because rape as an act is misogyny, that talking about rape or including it in stories is also misogyny. as if acknowledging that women were denied agency and dignity somehow further denies us agency and dignity. when really, acknowledging the ways women were/are denied agency and dignity affirms that we are entitled to these things. a feminist story isn’t just a story in which no bad things happen to women. bad things do happen to women. pretending they don’t, and especially trying to superimpose that conviction onto the past, just because it isn’t as fun to dwell on, is not a feminist position.
“Let’s go back,” Lila said.
“And the sea?”
“It’s too far.”
“And home?”
“Also.”
-Elena Ferrante,
My Brilliant Friend
VEEP | s04e09 "Testimony"
🐰
(based on this post)