My Aim is True

Slay's book montage

Strangers in Paradise, Fullsize Paperback Volume 13: Flower To Flame
Batman: The Dark Knight Returns
Size 12 Is Not Fat
90-day Geisha: My Time as a Tokyo Hostess
Julius Caesar
How to Talk to a Liberal (If You Must): The World According to Ann Coulter
The Tasha Tudor Book of Fairy Tales
From Hell
I Never Promised You a Rose Garden
Proud Americans


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aslanmedia:

Vulture Magazine interviews Willow Wilson, a Muslim comic artist who created the female Muslim superhero Kamala Khan for Marvel. 

Kamala Khan is a 16 year old child of immigrant parents from Pakistan living in Jersey City who, like any other superhero, fights bad guys and saves the day. Equally as interesting as Kamala is her creator, Willow Wilson, who resembled the average white woman - before she converted to Islam. 

Muslim superhero comics are nothing new— Naif Al-Mutawa from Kuwait created the 99, a group of Muslim superheroes from around the world that resemble all of Allah’s 99 traits. 19 year old Deena Mohamed created the Muslim veiled superhero Qahera who fights social problems affecting women in Egypt. But what Miss Kamala Khan represents is one of the first mainstream Muslim superheroes in the United States

(via ladyfabulous)

thewomanofkleenex:

lovethyfatness:

[Series of texts by @fatnutritionist, which read: “People are mad at me because they ‘work so hard’ to be fit or lose weight. They have told me this explicitly. It implies that they think my rejecting the values they subscribe to can somehow take away the fitness they’ve worked for. That is totally delusional. If you’ve worked hard for fitness, no amount of fat people rejecting stigma can take that away. So this is obviously not actually about fitness, at all. It’s about the other thing they ‘worked hard’ for: social status. They DO think, and they know, that the social status they have worked hard to earn, through ‘fitness,’ can be devalued. It can be devalued if the hierarchy that rewards them is crushed. Crushed by people rejecting stigma. We can’t take away your fitness or whatever weight you’ve lost. But we can devalue those things by destroying fat stigma. So they are afraid of us, and for good reason. If fat people aren’t stigmatized, then there is no more thin privilege. Remember always, fat people: People are afraid of you because you have an awesome power - to destroy the hierarchy. If they were not afraid of losing their place in the hierarchy, they would not come after you so viciously.” All tweets were accompanied by the hashtag, #notyourgoodfatty]

Read the full thread of Michelle’s tweets on Storify.

Well, damn.

(via historic-upstart)

What up, tumblr?

It’s been a while since I saw something so infuriating over on the Gawker sites. Good job, troll, with being a fucking fail of a human being. 

It’s been a while since I saw something so infuriating over on the Gawker sites. Good job, troll, with being a fucking fail of a human being. 

medievalpoc:

girljanitor:

If Tolkien Were Black by Laura Miller (full article here)
N.K. Jemisin (left) and David Anthony Durham  
Looking at the most visible exemplars of epic fantasy — from J.R.R. Tolkien to such bestselling authors as George R.R. Martin and Robert Jordan — a casual observer might assume that big, continent-spanning sagas with magic in them are always set in some imaginary variation on Medieval Britain. There may be swords and talismans of power and wizards and the occasional dragon, but there often aren’t any black- or brown-skinned people, and those who do appear are decidedly peripheral; in “The Lord of the Rings,” they all seem to work for the bad guys.
Our hypothetical casual observer might therefore also conclude that epic fantasy — one of today’s most popular genres — would hold little interest for African-American readers and even less for African-American writers. But that observer would be dead wrong. One of the most celebrated new voices in epic fantasy is N.K. Jemisin, whose debut novel, “The Hundred Thousand Kingdoms,” won the Locus Award for best first novel and nominations for seemingly every other speculative fiction prize under the sun. Another is David Anthony Durham, whose Acacia Trilogy has landed on countless best-of lists. Both authors recently published the concluding books in their trilogies.
Although they came to the genre from different paths, both Jemisin and Durham have used it to wrench historical and cultural themes out of their familiar settings and hold them up in a different light. “I never felt that fantasy needed to be an escape from reality,” Durham told me. “I wanted it to be a different sort of engagement with reality, and one that benefits from having magic and mayhem in it as well.”

In Durham’s trilogy, four royal siblings are deposed and then fight their way back to the throne in an empire presided over by the island city of Acacia. Their dynasty’s power resides in a Faustian bargain made with a league of maritime merchants: the League supplies a rabble-soothing drug in exchange for a quota of the empire’s children, who are sent off across the sea to meet an unknown fate. As promised, “Acacia” is a sweeping yarn filled with adventure, intrigue, sorcery and battles.

Jemisin’s series, too, is set in the capital of an empire that has been run by an aristocratic clan for generations. The power of the Arameri family, however, resides in the gods — specifically a pantheon of deities whom they have imprisoned and enslaved. The narrator of “The Hundred Thousand Kingdoms” is the daughter of a renegade member of the clan who ran off with a foreigner. Raised in a remote kingdom with its own fiercely independent customs, she returns to the capital seeking information about her mother and, once there, becomes embroiled in vicious palace intrigues.

She made the main character a woman and, in an even more marked departure from the norm, she decided to have that character narrate the book in the first person. “I knew that what I was writing was inherently defiant of the tropes of epic fantasy,” Jemisin said, “and I wasn’t sure it would be accepted.”

When Durham decided to write an epic fantasy, he set out to recapture the enchantment he felt as a 12-year-old, discovering Tolkien at his father’s house in Trinidad, while “brushfires and buzzards” ranged over the neighboring hills. Jemisin, on the other hand, based her trilogy on “the old-school epics: not Tolkien, but Gilgamesh.” The gods in her imaginary world evoke the squabbling divine families of the world’s great myths: “The ancient tales of mortals putting up with gods and trying to outsmart gods, of trickster gods outsmarting other gods: That’s the basis of my work.”
“The genre can go many, many more places than it has gone,” said Jemisin. “Fantasy’s job is kind of to look back, just as science fiction’s job is to look forward. But fantasy doesn’t always just have to look back to one spot, or to one time. There’s so much rich, fascinating, interesting, really cool history that we haven’t touched in the genre: countries whose mythology is elaborate and fascinating, cultures whose stories we just haven’t even tried to retell.”

Reblogging for the books tag! (I’ve read both these series myself and they are quite good.)

medievalpoc:

girljanitor:

If Tolkien Were Black by Laura Miller (full article here)

N.K. Jemisin (left) and David Anthony Durham

Looking at the most visible exemplars of epic fantasy — from J.R.R. Tolkien to such bestselling authors as George R.R. Martin and Robert Jordan — a casual observer might assume that big, continent-spanning sagas with magic in them are always set in some imaginary variation on Medieval Britain. There may be swords and talismans of power and wizards and the occasional dragon, but there often aren’t any black- or brown-skinned people, and those who do appear are decidedly peripheral; in “The Lord of the Rings,” they all seem to work for the bad guys.

Our hypothetical casual observer might therefore also conclude that epic fantasy — one of today’s most popular genres — would hold little interest for African-American readers and even less for African-American writers. But that observer would be dead wrong. One of the most celebrated new voices in epic fantasy is N.K. Jemisin, whose debut novel, “The Hundred Thousand Kingdoms,” won the Locus Award for best first novel and nominations for seemingly every other speculative fiction prize under the sun. Another is David Anthony Durham, whose Acacia Trilogy has landed on countless best-of lists. Both authors recently published the concluding books in their trilogies.

Although they came to the genre from different paths, both Jemisin and Durham have used it to wrench historical and cultural themes out of their familiar settings and hold them up in a different light. “I never felt that fantasy needed to be an escape from reality,” Durham told me. “I wanted it to be a different sort of engagement with reality, and one that benefits from having magic and mayhem in it as well.”

image

In Durham’s trilogy, four royal siblings are deposed and then fight their way back to the throne in an empire presided over by the island city of Acacia. Their dynasty’s power resides in a Faustian bargain made with a league of maritime merchants: the League supplies a rabble-soothing drug in exchange for a quota of the empire’s children, who are sent off across the sea to meet an unknown fate. As promised, “Acacia” is a sweeping yarn filled with adventure, intrigue, sorcery and battles.

image

Jemisin’s series, too, is set in the capital of an empire that has been run by an aristocratic clan for generations. The power of the Arameri family, however, resides in the gods — specifically a pantheon of deities whom they have imprisoned and enslaved. The narrator of “The Hundred Thousand Kingdoms” is the daughter of a renegade member of the clan who ran off with a foreigner. Raised in a remote kingdom with its own fiercely independent customs, she returns to the capital seeking information about her mother and, once there, becomes embroiled in vicious palace intrigues.

image

She made the main character a woman and, in an even more marked departure from the norm, she decided to have that character narrate the book in the first person. “I knew that what I was writing was inherently defiant of the tropes of epic fantasy,” Jemisin said, “and I wasn’t sure it would be accepted.”

image

When Durham decided to write an epic fantasy, he set out to recapture the enchantment he felt as a 12-year-old, discovering Tolkien at his father’s house in Trinidad, while “brushfires and buzzards” ranged over the neighboring hills. Jemisin, on the other hand, based her trilogy on “the old-school epics: not Tolkien, but Gilgamesh.” The gods in her imaginary world evoke the squabbling divine families of the world’s great myths: “The ancient tales of mortals putting up with gods and trying to outsmart gods, of trickster gods outsmarting other gods: That’s the basis of my work.”

“The genre can go many, many more places than it has gone,” said Jemisin. “Fantasy’s job is kind of to look back, just as science fiction’s job is to look forward. But fantasy doesn’t always just have to look back to one spot, or to one time. There’s so much rich, fascinating, interesting, really cool history that we haven’t touched in the genre: countries whose mythology is elaborate and fascinating, cultures whose stories we just haven’t even tried to retell.”

Reblogging for the books tag! (I’ve read both these series myself and they are quite good.)

(via therotund)

shoresoflethe:

BITCHCRAFT
a fanmix for witches whom are not to messed with
About Her - Malcolm McLaren
Gold Dust Woman - Fleetwood Mac
House Of The Rising Sun - Lauren O’Connell
Magic Man - Heart
I Put A Spell On You - Nina Simone
Witchy Woman - The Eagles
Strange Fruit - Billie Holiday
Blood Gets Thin - Pete and the Pirates
Girl With One Eye - Florence + The Machine
Devils - Amelia Curran
Evil Ways - Santana
Black Magic Woman - Fleetwood Mac
Shadowboxer - Fiona Apple
Femme Fatale - Sky Ferreira
Strange Magic - Electric Light Orchestra
Heads Will Roll - Yeah Yeah Yeahs
Guilty - Marina And The Diamonds
Seven Devils - Florence + The Machine
Glory And Gore - Lorde
Kinda Outta Luck - Lana Del Rey
Bubblegum Bitch - Marina And The Diamonds
You Don’t Own The Road - The Kills

[listen on Spotify]  [listen on 8tracks]
[image credit]

shoresoflethe:

BITCHCRAFT

a fanmix for witches whom are not to messed with

  1. About Her - Malcolm McLaren
  2. Gold Dust Woman - Fleetwood Mac
  3. House Of The Rising Sun - Lauren O’Connell
  4. Magic Man - Heart
  5. I Put A Spell On You - Nina Simone
  6. Witchy Woman - The Eagles
  7. Strange Fruit - Billie Holiday
  8. Blood Gets Thin - Pete and the Pirates
  9. Girl With One Eye - Florence + The Machine
  10. Devils - Amelia Curran
  11. Evil Ways - Santana
  12. Black Magic Woman - Fleetwood Mac
  13. Shadowboxer - Fiona Apple
  14. Femme Fatale - Sky Ferreira
  15. Strange Magic - Electric Light Orchestra
  16. Heads Will Roll - Yeah Yeah Yeahs
  17. Guilty - Marina And The Diamonds
  18. Seven Devils - Florence + The Machine
  19. Glory And Gore - Lorde
  20. Kinda Outta Luck - Lana Del Rey
  21. Bubblegum Bitch - Marina And The Diamonds
  22. You Don’t Own The Road - The Kills

[listen on Spotify]  [listen on 8tracks]

[image credit]

samiferist:

blood under our nails | a murder family fanmix
[LISTEN]

i. i put a spell on you - she & him // ii. thick as thieves - widowspeak // iii. 7 devils - the goddamn gallows // iv. how will you meet your end - aa bondy // v. run boy run - woodkid // vi. apply - glasser // vii. devil’s spoke - laura marling // viii. ain’t no grave - crooked still // ix. my virgin widow - mors syphilitica // x. devil do - holly golightly // xi. house of the rising sun - lauren o’connell // xii. bad things (acoustic) - jace everett // xiii. devils - amelia curran // xiv. me and the devil - soap&skin // xv. the parting glass - lauren cohan & emily kinney

pehchaanfashion:

Modern monochrome cotton kameez with a bright churidar and pumps