who will love a little sparrow?

we've come a long way, baby / from adam's rib to women's lib!

[wellward-a]

i’d really like to keep writing mary, lilith, and eve, but i don’t really want to use this blog anymore. i’m going to be archiving and remaking. the blog will have the same url as this one and anyone who’s interested will be welcome to follow me there. i think i’ll be intentionally stepping back from the caos fandom a bit, and while i’m going to analyze source material still--because it matters to me, regardless of the show’s quality--and stay critical, i’m no longer interested in what the show tells me about these characters. if you’re not into that, it’s not offensive to me if you don’t want to follow me to a new spot. i appreciate you all, and am beyond grateful for the wonderful conversations i’ve had here, and hope to continue them on the new blog, if you felt like making the leap.

i’ll add a link to the new blog when i’ve made it in an edit, and i’ll reblog this a few times here and there so people can see it. i’ll also be pinning this post to the top of my blog. thank you guys

edit: https://wellward.tumblr.com/

[wellward-a]

I know this is like an abandoned archive but I'm trying to find a post you made about like lilith types' origination and how maila nurmi or someone with a similar face? got chewed up and spit out when that sort of sexualized 'other' became undesirable again. it was really edifying and memorable analysis to me

Hi, anon! I think you're looking for this post from my original blog. Best wishes!

[wellward-a]

i’d really like to keep writing mary, lilith, and eve, but i don’t really want to use this blog anymore. i’m going to be archiving and remaking. the blog will have the same url as this one and anyone who’s interested will be welcome to follow me there. i think i’ll be intentionally stepping back from the caos fandom a bit, and while i’m going to analyze source material still–because it matters to me, regardless of the show’s quality–and stay critical, i’m no longer interested in what the show tells me about these characters. if you’re not into that, it’s not offensive to me if you don’t want to follow me to a new spot. i appreciate you all, and am beyond grateful for the wonderful conversations i’ve had here, and hope to continue them on the new blog, if you felt like making the leap.

i’ll add a link to the new blog when i’ve made it in an edit, and i’ll reblog this a few times here and there so people can see it. i’ll also be pinning this post to the top of my blog. thank you guys

edit: https://wellward.tumblr.com/

[wellward-a]

the blog is pretty much up, pages-wise. 🤙 hope to see yall there

[wellward-a]

i’d really like to keep writing mary, lilith, and eve, but i don’t really want to use this blog anymore. i’m going to be archiving and remaking. the blog will have the same url as this one and anyone who’s interested will be welcome to follow me there. i think i’ll be intentionally stepping back from the caos fandom a bit, and while i’m going to analyze source material still–because it matters to me, regardless of the show’s quality–and stay critical, i’m no longer interested in what the show tells me about these characters. if you’re not into that, it’s not offensive to me if you don’t want to follow me to a new spot. i appreciate you all, and am beyond grateful for the wonderful conversations i’ve had here, and hope to continue them on the new blog, if you felt like making the leap.

i’ll add a link to the new blog when i’ve made it in an edit, and i’ll reblog this a few times here and there so people can see it. i’ll also be pinning this post to the top of my blog. thank you guys

edit: https://wellward.tumblr.com/

[wellward-a]

the blog is pretty much up, pages-wise. 🤙 hope to see yall there

[icphoto]

Weegee, [Woman kissing rabbit], ca. 1956 (via I love animals! | Fans in a Flashbulb)

[phantomleaves]

The work of artist Kym Hepworth

works from top to bottom:

Pressed to Death (Giles Corey), 2012

The Widow, 2010

The Lady in White, 2010

Daphne, 2010

Tangled Web, 2013

Fatal Beauty, 2010

Handkerchief (Willow and Urn), 2006

Lover’s eye, 2014

[uspiria]

Megan Fox in Jennifer’s Body, 2009.

[violentwavesofemotion-deactivat]

Lovely-eyed. Death-touched. Witch.

Odysseus Elytis, tr. by Olga Broumas & T. Begley, from “The Dream,” (via violentwavesofemotion)

[movie-gifs]

Gene Tierney in Leave Her to Heaven (1945) dir. John M. Stahl

[wellward-a]

I have a question. Usually when I see your CAOS related posts you're talking down/complaining about the fandom, like your most recent one. Why do you post or interact if you have to "put on your big clown shoes" and feel the need to insult others? It doesn't make sense to complain about the ridiculousness and negativity if you actively contribute to it, and honestly it gives off the vibe that you think you're better than everyone else.

so i’m going to go ahead and give you a full reply instead of some snappy comeback, even though my one request has been that people approach me in good faith, and this ask is NOT in good faith lmao. but here you go, anon:

the bulk of my complaints about this fandom have been that it’s deeply misogynist and loves to romanticize rape, pedophilia, and incest. i feel like it’s perfectly within my rights to criticize that as much as i need to, as well as to complain as much as i want about the community that enables that behavior. except for specific instances where i felt i had to speak up in a direct way, i have actually tried to stay OUT of this fandom as much as humanly possible--you will notice that the most recent post i made has no fandom or character tags on it, i did not create it to be found through searches for ‘caos’ or any of the characters--but the fandom, for better or worse, has found me, and many of my experiences have been bad.

hence, i am not only criticizing a community that enables and perpetuates damaging ideas, but one that i have had actual, personal, negative experiences with. like the one i’m having with you, right now, since it seems that when i complain in my own space, on my own time, to my own followers, i’m “contributing to ridiculousness and negativity,” but when you send me an anonymous message condescending to me about my behavior, which affects you not at all and is directed to only a relatively small audience of like-minded people, you’re... what? contributing to positivity and light? all you have to do is unfollow if you disagree with me or don’t like when i vent. i’ve been barely active, if at all, in the past like, 5 months on this blog lmao, i’m shocked you’re even still looking at it.

[wellward-a]

me trying to engage with this fandom

[kafkasapartment]

Mary Sykes at The Escambron Beach Club, Puerto Rico, Harper’s Bazaar, 1938.Louise Dahl-Wolfe. Silver print

[classicfilmsource]

Ingrid Bergman in Spellbound (1945) dir. Alfred Hitchcock

[wild-west-wind]

Dr. Katherine (Kay) Fowler-Billings was an American naturalist and geologist. She is commonly known for being one of the earliest female geologists. In 1926 she dressed as a man to join a geologic expedition. She mapped >500 square miles of the Laramie Mountains alone in 2 Summers. She fundamentally changed our understanding of the Rockies.

She did not know how to use that gun.

[dearestvita-deactivated20221122]

Cathryn Harrison and Janer McTeer as Violet Trefusis and Vita Sackville-West in Portrait of a Marriage (1990)

[missmillay]

Edna St. Vincent Millay at her home in Steepletop, NY, 1940s.

[iredreamer]

«I came upon a family photo album belonging to two ladies. They were Kodachromes from the 1960s. The images weren’t extraordinary in any way, but I was quickly drawn to a detail. I was unable to discern the nature of the relationship between these two women: were they two sisters, two friends, or two lovers? I asked the dealer if he had other albums, and miraculously, he pulled out ten others that were vegetating in old boxes. I bought them all and returned home to begin a kind of investigation inside the albums. Very quickly, I understood that these two women were a couple. Many of the images showed them intertwined, hand in hand, loving eyes. What astonished me was that their middle-class appearance didn’t match the act: the act of producing an image of homosexual love at a time when discretion was the norm. Because to obtain these images, they had to have gone to a small neighborhood photo lab to develop the film and then go back to pick up the prints. They, therefore, had to run the risk of exposing themselves socially. The need to keep a memory of their love was certainly stronger than the disapproval of some business or any concerns about what others might say. Later, I found many other anonymous images with traces of intimate homosexuality. Every time, there were the same testimonies of freedom and happiness. With each discovery, I was stunned, for these images didn’t match the official history of homosexuality as it had been conveyed to us.» [Sébastien Lifshitz, The Invisibles: Vintage Portraits of Love and Pride]