Sep 8, 2025
Premiere Entree des' Fantomes, quatre figures, Daniel Rabel, 1632
Costume design for a ballet performed at the Château de Bicêtre
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Premiere Entree des' Fantomes, quatre figures, Daniel Rabel, 1632
Costume design for a ballet performed at the Château de Bicêtre
#1632
"Happy birthday to steve bartek !!
#thesilly 🥹🥹🥹🥹🥹"
Very happy birthday to Steve Bartek!
Akutagawa daily 1632/★
Raine Whispers from The Owl House
"I think they have one of the most compelling arcs in The Owl House. Just a really well rounded character, both a huge dork and also very valiant. They were one of the first explicitly nonbinary characters I ever saw in a piece of media and it meant a lot to me when I was still in the closet!"
Do you like this character design?
Yes
No
It's Complicated
Currently rereading Eric Flint's 1632 and reflecting on just how influential Flint was to me and my approach to both praxis and politics as a teenager. I found Flint when I was about thirteen or fourteen, around the time I found Pratchett I think, and he's left an equally wide thumbprint on my soul. Isn't that the most wonderful thing about stories, that people you've never met can help shape our adult selves? Mother of Demons I often recommend for its SFF worldbuilding--Flint built a species with at least four genders, only some of which are reproductive, and associated "normal" sexual orientations, and then proceeded to write in a textually intersex character and queer the hell out of it.
1632, though, is the one where a little West Virginia town in 2000 gets picked up and dropped in the middle of Thuringia, Germany in the eponymous year--right in the middle of the Thirty Years War. The local United Mine Workers of America chapter plays a major role, particularly its head.
As I write this I'm listening to the scene where the little town of Grantville, having admitted after a few days that they are probably not ever going home, is crowded into the high school gymnasium listening to the mayor lay that reality out and suggesting an interim council to help the town set out a sort of constitutional convention so they can work out what on earth they're going to do moving forward--especially since there's a bunch of displaced refugees collecting in the forests nearby. Sensible of them, really; the Americans murdered the shit out of the local soldiers that displaced them, on account of how the shaken mine workers that went out to figure out WTF happened not being super down with suddenly running into a bunch of fuckheads raping the locals and torturing people to find out where their valuables might be. After that, said Americans proceeded to retreat into the town boundaries and gibber quietly to themselves. I would go lurk in their woods, too.
Anyway, the mayor sets up this proposal, everyone agrees, and a CEO who was visiting for his son's wedding at the time steps forward and says: look. I know how to lead, and I'm probably the most qualified person here. I lead a major industry corporation effectively and I did that after my time as a Navy officer. I put myself forward because I'm qualified. Now, we're going to need to circle the wagons to get through the winter, tighten our belts, but we can get through this. We can't support all these refugees, though; we'll have to seal the border so they can't bring disease--they're a drain on our resources we can't afford--
and the UMWA guy, he gets really mad listening to this. There's this Sephardic refugee woman he's real taken with who got swept up in the town first thing, and she's sitting in and listening; he's thinking about throwing her out, thinking about how much she knows about the place they're found in, and he's furious. But he gets a good grip on his anger and he marches up and he says, look. This dude has been here two days and he's already talking about downsizing?! You're going to listen to this CEO talking about cuts, cuts, cuts? Nah. Trying to circle the wagons is probably impossible, it's stupid, and if you think my men and I are going to enforce that, you can fuck off. That proposal is inside out and bass ackwards. We've got about a six mile diameter of Grantville here; how much food do YOU think we're going to grow? How about the soldiers wandering around, do you think we're going to be able to fight armies off on our lonesome? Look at the few refugees we already have in the room, they'll tell you how those armies will treat you! We could do it for a while, the amount of gun nuts here, but so what? We don't have enough people to shoot them! Not if we're going to do anything else to keep us going! We have about six months of stockpiled coal to keep going, and without another source or getting the coal mines working, we're screwed. We have technical strength but we don't have the supplies or resources we would need to maintain it. Those refugees? They're resources. We need people to do the work we will need to keep ourselves. The hell with downsizing; let's grow outwards! Bring people in, give them safety, see what they can bring to the table once they've had a moment! He invokes: send us your tired, your poor!, and the CEO yells in frustration: this isn't America! so he yells back "it will be!"
And of course everyone cheers. I love Flint for many reasons but he is unapologetic about affection for the America of ideals--ideals, he freely admits, that are often honored in the breach rather than the observance, ideals that are messy and flawed, but nevertheless ideals that can work to inspire us to become the best version of ourselves. For Flint, history is as valuable as a source of stories to inspire ourselves as it is a repository of knowledge, and on this I tend to agree with him. We must learn from our moments of shame but equally we must learn from moments that show us how to be our best selves.
It's been twenty three years and the text is now an interesting historical document in its own right, hitting points and rhythms in beats that are sometimes out of place today. It's not perfect. But the novel contains a commitment to joy and to emphasizing the leaps of faith and understanding that regular, everyday people make every day to try and support each other that I routinely try to match in my writing.
Anyway, one of the strengths of the novel, I think, is its gender politics: it's a very ensemble kind of novel, lots of characters, and it's preoccupied with positive masculinity in a lot of ways. There's a lot of these hyper masculine characters--Mike Stearns perhaps more than anyone else--and--and...
... And Flint's characterization of Stearns, as he sketches out who the man is--his pivotal American leader, ex boxer, working class organizer, big man.... well, it lands equally on "he is delighted and astonished to find a local woman who quickly assesses how the cushion of air in tires works," and "he considers who to set up a Jewish refugee in the middle of Germany up with and he thinks to ask the Jewish family he grew up with to host her and her ill father because he thinks she'll be most comfortable there", and "he views people as potential assets rather than potential drains." A younger man asks him for advice on whether to pursue a professional sports career because of the boxing and he says no, you're in the worst place of not being quite good enough and you'll blow out your knees without accomplishing safety. He frames that interaction such that he allows his own experiences to make him vulnerable and invite the younger man to understand when a struggle have worth it.
It's actually a really deft portrayal of intense masculinity that also makes a virtue of a bunch of traits more usually associated with women: empathy, relational sensitivity, the ability to listen. As a blueprint for what a positive masculinity can look like, vs the toxic kind, it's very well done. I think sometimes when we look at gender roles in terms of virtues, and when masculinity is defined in terms of opposition to femininity, people get lost by arguing that virtues assigned to one gender are somehow antithetical to another gender. In fact that's never been the case: virtues are wholly neutral and can appear in any gender. What the gender does is inflect the ways we expect that virtue to appear in terms of individuals' actions within their society.
Gender isn't purely an individual trait, basically; it's a product of our collective associations. Two characters with different genders can display the same virtues and strengths, but we imagine them expressed in different ways according to our cultural expectations around gender. And I just think that's neat.
I think the reason why people enjoy my writing a lot is because I read a lot of novels and history books on my spare time and I get some of my ideas from that. Like I said this before and I will say it again, Tales From The Gas station and creepypasta in general got me into reading and writing along with alternate history stuff like the 1632 series and various alternate history short stories. I wish I was lying but I'm not.
Daniel Rabel: Première entrée des fantômes, quatre figures (First entry of the ghosts, four figures) 1632.
