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A boy sprawled next to me on the bus, elbows out, knee pointing sharp into my thigh.
He frowned at me when I uncrossed my legs, unfolded my hands
and splayed out like boys are taught to: all big, loose limbs.
I made sure to jab him in the side with my pretty little sharp purse.
At first he opened his mouth like I expected him to, but instead of speaking up he sat there, quiet, and took it for the whole bus ride.
Like a girl.

Once, a boy said my anger was cute, and he laughed,
and I remember thinking that I should sit there and take it,
because it isn’t ladylike to cause a scene and girls aren’t supposed to raise their voices.
But then he laughed again and all I saw
was my pretty little sharp nails digging into his cheek
before drawing back and making a horribly unladylike fist.
(my teacher informed me later that there is no ladylike way of making a fist.)

When we were both in the principal’s office twenty minutes later
him with a bloody mouth and cheek, me with skinned knuckles,
I tried to explain in words that I didn’t have yet
that I was tired of having my emotions not taken seriously
just because I’m a girl.

Girls are taught: be small, so boys can be big.
Don’t take up any more space than absolutely necessary.
Be small and smooth with soft edges
and hold in the howling when they touch you and it hurts:
the sandpaper scrape of their body hair that we would be shamed for having,
the greedy hands that press too hard and too often take without asking permission.

Girls are taught: be quiet and unimposing and oh so small
when they heckle you with their big voices from the window of a car,
because it’s rude to scream curse words back at them, and they’d just laugh anyway.
We’re taught to pin on smiles for the boys who jeer at us on the street
who see us as convenient bodies instead of people.

Girls are taught: hush, be hairless and small and soft,
so we sit there and take it and hold in the howling,
pretend to be obedient lapdogs instead of the wolves we are.
We pin pretty little sharp smiles on our faces instead of opening our mouths,
because if we do we get accused of silly women emotions
blowing everything out of proportion with our PMS, we get
condescending pet names and not-so-discreet eyerolls.

Once, I got told I punched like a girl.
I told him, Good. I hope my pretty little sharp rings leave scars.

'My Perfume Doubles As Mace,' theappleppielifestyle. (via queenofeden)

(via summer-of-supervillainy)

ughjohnwatson:

do you ever get in those moods where you don’t feel like reading and you don’t feel like being on the internet and you don’t feel like watching a show and you don’t feel like sleeping and you don’t feel like existing in general

This is 90% my life.

(via ohtokaji)

ounu:

it was so incredibly eerie this morning 

(via ohtokaji)

maid-en-china:

I made a butterfly ceiling lamp shade for myself over weekend and thought I’d share some brief instructions on how to make one yourself :D

Now before I start, I want to clarify that paper lamp shades are safe from fire if you use 40 watt compact florescent bulbs and leave an inch or more of space between the paper and the bulb. Make sure there are openings at the top of the bulb to allow ventilation. I’ve used that other two origami lamps for many years and never had any fire problems. The paper is barely warm after hours of use. But just to be safe, you should always test out your paper lamp shade and touch the paper closest to the bulb after a few hours of use to see if it’s too hot. 

Now to make the butterfly lamp shade, you’ll need an old metal coat hanger, some regular paper, string, glue, and tape. 


1. Bend the coat hanger into a circle
2. Cut out butterflies of various sizes on regular paper. (Fold the paper in half and cut out half a butterfly to create symmetrical wings)
3. Tape the largest butterflies to the coat hanger
4. Glue strings to the remaining butterflies
5. After the glue is dry, tie the strings to the coat hanger at various length until you have a flock of butterflies 
6. Put coat hanger over existing lamp shade and you’re done! :D

- For the lotus lamp, I just followed this youtube tutorial and modified it a bit to fit the lamp shade. I used bigger paper and less pedals per tier. 

- The round origami lamp is just a really big Arabesque Kusudama. Here’s a youtube tutorial for how to make one. Make sure to use much bigger paper than the ones in the tutorial for the lamp shades. There are many variations of kusudamas out there to choose from but be sure to pick one that has openings for ventilation. 

Have fun! :) 

f-l-e-u-r-d-e-l-y-s:

Giant Crochet Doilies overflow the walls by Ashley V. Blalock

Lying on a side table, a lace doily is a symbol of refinement and femininity. Change the scale of that doily and add them to other giant sized doilies and suddenly the mass of crochet takes on an overpowering and even threatening air. In “Keeping Up Appearances”  Southern California based artist Ashley V. Blalock built an ongoing, site-specific installation project where she strings up enormous crochet doilies in spider-web form throughout different gallery spaces.

ami-angelwings:

manticoreimaginary:

Did you ever notice how in the Bible, whenever God needed to punish someone, or make an example, or whenever God needed a killing, he sent an angel? Did you ever wonder what a creature like that must be like? A whole existence spent praising your God, but always with one wing dipped in blood. Would you ever really want to see an angel?

Guys need to keep this in mind when they use those stupid angel pick up lines. >_> 

"Did it hurt?"

"Did what hurt?"

"When you fell from heaven?"

"No.  But this will.  *sears his flesh from his bones*"

notcuddles:

mswyrr:

operationkino:

queenofmultitasking:

daisyrazor:

chujo-hime:

brightnshinythings:

mswyrr:

anybody who thinks peggy carter is some kind of anachronistic “feminist message” needs to read about these awesome world war ii ladies:

Nancy Wake

Hannah Szenes

Vera Atkins

Noor Inayat Khan

Violette Szabo

The Night Witches

Krystyna Skarbek

Christine Granville

(And also various code-breakers, map ladies etc.  They also serve who fight war with pencils.)

Just wanted to add links to these documentaries:

I have a dream of becoming fabulously rich, opening a movie studio, and making nothing but films about Kickass Ladies of WWII.

… you guys realise that Krystyna Skarbek = Christine Granville, right? Also known as Ian Fleming’s (supposed) inspiration for Vesper Lynd?

Other than that, excellent post - also worth researching are Odette Sansom, Lise de Baissac, Yvonne Cormeau, Virginia Hall and Pearl Withertington (and indeed all of the ladies of the SOE, the Bletchley girls, the women who worked in as analysts/ operators/ etc.; the list goes on and on and on).  

if any real person could be the basis for Peggy, it was Vera Atkins. She’s proof a character like Peggy is real and canon and did occur in real life.

Atkins was a spy before Great Britain even joined in WWII, working with businessmen in Canada (Intrepid) and America, sending reports that eventually were read by Churchill and Roosevelt. During the war she was in-charge of the F-Section of the SOE; she selected and trained the women (the majority who are above with her name) who went into occupied territories and who died. She knew that being a woman was an advantage, not a disadvantage; she didn’t become an officer until 1944, meaning that she commanded officers when she was only a civilian—if that’s not fucking badass than you are stupid.

After the war she investigated every single one of her lost agents to see what happened to them, and out of 120 -/+ she found out how they died/were caught except for one. She continued working as a spy during the Cold War, and even when her service to GB was called into question during the height of the hysteria. The majority of her service records on the British side were destroyed in a “mysterious” fire, and basically, Ian Fleming called her the boss of spies; She made men uncomfortable because she was so good at her job. 

so if I hear one more person say Peggy Carter has no room in anything because “it’s not historically accurate!!!” I will find you and I will throat punch you

/I have a lot of feelings about Vera and Peggy

lemme show you how badass the SOE and OSS women were and are - NO RESPECT - NOBODY TEACHES YOU ABOUT THEM SO THEY’RE INVISIBLE - they are no invisible though. they are legends and queens and they deserve more time than most things do - ugh - lemme die -

For a bb historian, I am very easygoing about inaccuracies in historical fiction. Fucking up dates and details etc. But representation and diversity in historical fiction is, IMO, more important than any other element of accuracy. Between people not believing that someone like Peggy Carter could exist, that it’s some kind of modern feminist propaganda changing the past, and a post the other day on LA Noire where someone said there couldn’t POSSIBLY be African American people of any gender or white women on the LAPD in 1947 (even though there totally were), it seems like there’s these incredibly rigid boundaries set up in peoples’ minds due largely to the media they consume about the past and it is FUCKED. UP.

The reason media presently focuses so much on white male bands of motherfucking brothers is that our present world is sexist and so people reach back for the white dudes.

It saddens me that people of color of any gender and white women were doing all these awesome, brave things and taking so much shit and that they were erased during their own time period and now doubly erased by people in the future who are too fucked up to notice or appreciate them, who construct this narrative of the past where they don’t get to stand up as tall and brave as they did.

Fucking hell. This is really not okay in any conceivable way. Fuck up dates and details if you like, but don’t fuck people out of ever being recognized like this. JFC, media.

I just want to laugh and laugh at people who cry about historical accuracy when things get made about people who aren’t straight white dudes because THE VAST MAJORITY of shit about straight white dudes is in NO WAY historically accurate.  And yet curiously most people don’t complain about THAT….oh wait, it’s because the inaccuracies line up with their myopic, uneducated ideas about what the past looked like, so they don’t even notice. 

So many people love to talk about history without knowing the first fucking thing about it.

(via summer-of-supervillainy)

eschergirls:

theysayimpsychodiaries:

Chimamanda Adichie - The Danger of a Single Story (TED Talks 2009)

Tell me again, what did you say about representation not being important?

Reblogging this because I think this is a good example of the power of the narratives we grow up absorbing (& still absorb now as adults) and how that affects the way we see the world, how we place people (and ourselves) in the world, and who we expect to see (and thus write into our own stories) in certain roles.  This is similar to another post I’ve reblogged about how people write certain tropes and narratives because “that’s just what you do”.  And it extends to other creative expressions too, like how you portray characters in illustrated or interactive media (comics, video games).

To put it in the context of what’s discussed on this blog, if you grow up on women being portrayed in a certain way, you’re going to not think twice when you write your own story about portraying them that way because that’s just “what you do”, that’s just what seems “natural” and “right” to you.  It’s why there’s so much midriff-baring armor for women out there, or high heeled boots on female warriors, or boobs and butt battle poses.  It’s also why the “average” woman portrayed in fiction is so far from average that it’s skewing our own internal idea of what “thin” and “thick” women look like.  Sometimes it’s a conscious effort (by the illustrator or their editor) to sexualize them, and sometimes it’s just what we’re used to, so we do it.  It’s just how we’re used to seeing women fighters, so when we draw them we do what we’re used to seeing.

And it’s the same with the representation of other groups (and remember, these groups overlap). The way we write and draw trans people is influenced by how we’re taught to think of trans people, and those narratives are usually informed by the media we consume.  The same as how “western” nations think of Asia, or Africa.  What we imagine those places are like in our mind’s eye.  We “know” what these places are like, what queer people are like,  what heroes are like, who fights dragons, who gets rescued, etc, because of how the media portrays these things.  It’s all around us, and we don’t have to consciously want to do these things to do them, because it’s just what seems “right” and “natural” and “automatic”.

That’s why it’s also important to challenge ourselves in our growth as consumers of product, and as creators of future product.  Why do we “know” what we know?  Is this actually the only way to do things, or just the way we’re used to seeing it done?  And it’s important for us to actively seek out for ourselves, different ideas, different narratives, and different perspectives, and to consider what kinds of messages we want to send with our own work.  Because, just like we grew up with the narratives that taught us “how things are” in a certain way, future children will grow up with the narratives we contribute to, and it will affect what they “know” about their place in the world, what roles they get to be and don’t get to be, whose stories are being told, and who only matters as an object or gimmick within that story.

chlorodream:

lady-of-redemption:

He did it. He actually managed to describe how it feels to live with depression and suicidal tendencies.

this is really, really important

(via hippity-hoppity-brigade)