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traeumenvonbuechern · 1 year

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Historical Romances by Black Authors

Aphrodite wishes to escape the marriage mart but will a second chance with the elusive Duke of Everely change her mind? Aphrodite Du Bell is a diamond of the first water and a favourite of the queen. But her renowned loveliness didn't stop the love of her life, Evander Eagleman, from jilting her and marrying another woman four years ago. Aphrodite has been in self-imposed exile ever since. However, when her formidable mother summons her back to London Aphrodite has no choice but to acquiesce. Upon her return, Aphrodite learns that the newly widowed Evander is in town and, despite her best efforts, the grand society events of the season repeatedly push them together. With each encounter, Aphrodite's traitorous feelings make it perfectly clear that the Duke still holds court over her heart. Why did Evander cast Aphrodite aside all those years ago, and now that they have a second chance, can the couple make strides to mend past hurts?

Ailsa Connery has waited three long years to finally escape her enslavement at Stirling Castle and reunite with her clan. But her carefully laid plans are completely destroyed by the arrival of the infamous Highland warrior known as Dubh Mahoun, the Black Devil…who has plans of his own. Kallum MacNeill's fearsome reputation has long allowed him to keep hidden his secret double life of freeing enslaved captives across the land. It's only when he kidnaps a servant lass—quite by accident—that he finds himself facing a wee predicament. He must accompany the lass home or risk her exposing his true identity. It'd be easy enough…if the feisty hellion didn't fight him at every turn. As they make their way to the Highlands, the perils the two must face are surpassed only by their constant sparring. Soon, their heated sniping sparks heat of a totally different kind. The kind that ignites a hunger that could consume them both. Yet the difficult journey is no match for the dangerous secrets they're about to uncover.

The first novel in USA Today Bestselling Author Beverly Jenkins’s compelling new series follows a Northern woman south in the chaotic aftermath of the Civil War . . . Valinda Lacy’s mission in the steamy heart of New Orleans is to help the newly emancipated community survive and flourish. But soon she discovers that here, freedom can also mean danger. When thugs destroy the school she has set up and then target her, Valinda runs for her life—and straight into the arms of Captain Drake LeVeq. As an architect from an old New Orleans family, Drake has a deeply personal interest in rebuilding the city. Raised by strong women, he recognizes Valinda’s determination. And he can’t stop admiring—or wanting—her. But when Valinda’s father demands she return home to marry a man she doesn’t love, her daring rebellion draws Drake into an irresistible intrigue.

A fun and feminist Regency romp from a master of the genre hailed as "a delight" by Bridgerton author Julia Quinn. Nothing happens in London without Graham Wynchester knowing. His massive collection of intelligence is invaluable to his family’s mission of aiding those most in need. So when he deciphers a series of coded messages in the scandal sheets, Graham’s convinced he must come to a royal’s rescue. But his quarry turns out not to be a princess at all… The captivating Kunigunde de Heusch is anything but a damsel in distress, and the last thing she wants is Graham’s help. All her life, Kuni trained alongside the fiercest Royal Guardsmen in her family, secretly planning to become her country’s first Royal Guardswoman. This mission in London is a chance to prove herself worthy without help from a man, not even one as devilishly handsome as Graham. To her surprise, Graham believes in her dream as much as she does, which makes it harder to resist kissing him…and falling in love. But how can she risk her heart if her future lies an ocean away?

Jane Austen meets The Princess and the Frog For as long as Prairie can remember, living in paradise has been boring. Her days are filled with helping at her family's resort, sewing, daydreaming, and observing fashionable guests from the sidelines. But when a fairytale-Esque opportunity arises, she does something out of character and agrees to marry a man she's never met. Suddenly, she's navigating a new life that is a world and an ocean away from everything she's ever known. Her new husband, Wright, is decidedly Mr. Wrong. If there's a schedule, he'll ignore it. If there is a rule, he'll break it. If there's a risk, he'll take it. Has the girl who has always had a plan finally met her match? If you're a fan of TV shows like 'Vanity Fair', 'Bridgerton' and 'The Chilling Adventures of Sabrina' or enjoy reading comedies of manners, you'll love 'That, My Dear, Is Love.' This is a full-length, standalone novel featuring a diverse ensemble cast, whimsical magic, and hilarious misadventures. This is a clean romance with a HEA. Featuring some of your favorite tropes: Marriage of Convenience Opposites Attract Reformed Rake

The Davenports delivers a totally escapist, swoon-worthy romance while offering a glimpse into a period of African American history often overlooked. The Davenports are one of the few Black families of immense wealth and status in a changing United States, their fortune made through the entrepreneurship of William Davenport, a formerly enslaved man who founded the Davenport Carriage Company years ago. Now it's 1910, and the Davenports live surrounded by servants, crystal chandeliers, and endless parties, finding their way and finding love—even where they’re not supposed to. There is Olivia, the beautiful elder Davenport daughter, ready to do her duty by getting married . . . until she meets the charismatic civil rights leader Washington DeWight and sparks fly. The younger daughter, Helen, is more interested in fixing cars than falling in love—unless it’s with her sister’s suitor. Amy-Rose, the childhood friend turned maid to the Davenport sisters, dreams of opening her own business—and marrying the one man she could never be with, Olivia and Helen’s brother, John. But Olivia’s best friend, Ruby, also has her sights set on John Davenport, though she can’t seem to keep his interest . . . until family pressure has her scheming to win his heart, just as someone else wins hers. Inspired by the real-life story of the Patterson family, The Davenports is the tale of four determined and passionate young Black women discovering the courage to steer their own path in life—and love.

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iwtvfanevents · 1 month

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Rewind the Tape —Episode 2

Art of the episode

Just like we did for the pilot, we took note of the art shown and mentioned in the second episode while we rewatched it, and we are sharing our findings with you. Did we miss any? Can you help us put a name to the unidentified ones? Do you have any thoughts about how these references could be interpreted?

Unnamed painting by Marius de Romanus

Created for the show (uncredited artist).

Armand (still "Rashid") tells Daniel that Marius was a contemporary of Tintoretto (1518-1594).

Transformation

Ron Bechet, 2021

Bechet is a New Orleans-born visual artist. He's a relative of the early jazz pioneer Sidney Bechet. [Identified by Gizmodo's Linda Codega, here.] Exhibition Prospect.5 says about the collection this piece belongs to: "Bechet carefully renders the ways vines wrap themselves around trees for support and access to sunlight. At times, this relationship serves both the vine and the tree. Works such as Transformation depict a harmonious symbiosis, as tree and vine both flourish. (...) Through his immersive compositions, Bechet invites us to see history and ourselves in relationship to the beauty, power, and violence of the natural world." And, from Xula Gallery: "Here, we are gifted with the physical proximity of life and death – How they share the same organic space, how they sleep together as equals. The flora of South Louisiana's natural landscape is cleaved open to expose its roots. (...) Here is botany that has every potential of becoming monstrous. All of these meanderings are used to symbolize the deep historical roots of a family home and exhibits the precariousness of nature, both human and environmental, with all of its nurturing and destructive potential. (...) It is a diaspora body, skin folded back to reveal its elegant and resilient backbone."

Untitled photographs

Vivian Maier, undated

Maier was a street photographer whose work was discovered and distributed after her death —she took more than 150,000 photographs during her life, and never printed or circulated any. You can learn more about how her work came to light here. We don't actually see the third picture, which hangs to the left, until episode four. Interestingly, that one is a self-portrait.

Dancers

Edgar Degas, 1899

Degas produced countless paintings of ballerinas throughout his career. While he is often considered an impressionist, he himself saw himself more as a realist and preferred harsh gritty subjects of working class backgrounds. Ballerinas at the time often came from working class or poor families and worked intense grueling hours. [Identified by @nicodelenfent, here.]

Berthe Morisot with a Fan

Edouard Manet, 1872

Manet was one of the first 19th-century artists to paint modern life, as well as a pivotal figure in the transition from Realism to Impressionism. The portrait in this scene shows his close friend, painter Berthe Morisot, wearing mourning blacks after the death of her father, but wearing a wedding ring —she was engaged to Manet's brother. [Identified by @nicodelenfent.]

Portrait of Erich Lederer

Egon Schiele, 1912

The Schiele depicts a young Erich Lederer, son of art collectors Serena and August Lederer, whose collection was looted by the Gestapo. [Identified by @nicodelenfent.]

Paddy Flannigan

George Bellows, 1908

The Bellows depicts a young impoverished boy on the streets of New York. [Identified by @nicodelenfent.]

A Doll's House

Henrik Ibsen, 1879

Lestat tells Louis "They'll seat us late, and we'll miss Nora's entrance with the Christmas tree," which quite a few fans soon identified as a reference to this play, in which a housewife becomes slowly disillusioned with marital life and eventually leaves her husband. This conclusion led to the play being banned in certain countries, such as Germany and Britain, and Ibsen was compelled to write an alternative ending, in which Nora's husband forced her to stay. In the two stage productions pictured above, you can see Kelsey Brennan and Nate Burger on the left, and Assad Zaman and Anjana Vasan on the right.

Unnamed paintings of Papa du Lac and Paul

Created for the show (uncredited artist).

Unidentified painting*

* The running theory is that the woman in this painting is Gabrielle, Lestat's mother; which would mean this is another uncredited prop painted for the show.

Woman in A Fur Coat

Edouard Manet, 1879

Additionally, on the bottom left corner of the frame you can catch a glimpse of another unidentified painting, but we couldn't get any clearer looks of it either.

Autumn at Arkville

Alexander H. Wyant, 1909

The one in the mirror and the one on the other side of the door are too blurry, but we managed to place the one on top of the couch! [Identified by @vfevermillion.]

The Lone Tenement

George Bellows, 1909

The National Gallery of Art says about this painting: "Bellows has imbued the composition with a sense of eerie wistfulness, recording the precarious positions of those who were being displaced to make way for the future." [Identified by @nicodelenfent.]

Don Pascuale

Gaetano Donizetti, 1842

The opera that Louis and Lestat go to at the end of the episode follows an elderly bachelor, who gets conned by his nephew Ernesto and his friend Malatesta into marrying the nephew's lover, Norina, under false pretenses. You can find a complete synopsis here.

The Storm On The Sea Of Galilee

Rembrandt van Rijn, 1633

Rembrant van Rijn, Dutch Baroque painter and printmaker from the 17th century, is best known for his biblical and allegorical pieces. Rembrandt's only seascape was stolen from the Isabella Stewart Gardner Museum in Boston on March 18th, 1990, alongside other 12 works of art. The case remains unsolved. [Identified by Gizmodo's Linda Codega.]

If you spot or put a name to any other references, let us know if you'd like us to add them with credit to the post!

This week, we will be rewatching and discussing Episode 3, Is My Very Nature That of a Devil. We can't wait to hear your thoughts!

And, if you're just getting caught up, learn all about our group rewatch here ►

#louis de pointe du lac #daniel molloy #lestat de lioncourt #vampterview #interview with the vampire #iwtv #amc interview with the vampire #interview with the vampire amc #amc iwtv #iwtv amc #IWTVfanevents #rewind the tape #after the phantoms of your former self #analysis and meta #art of the episode

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fandomtrumpshate · 1 year

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FTH 2023 Wrap-Up

Boy has it been a year, guys.

This seemed like the year when anything that could go wrong did, from covid to family emergencies to work obligations to software bugs. We're so grateful to you all for your patience and for coming back year after year to remind us why we do this.

Historically, non-election years have usually seen slumps in both our number of auctions and our donation totals. But this year? You guys blew us away yet again.

We had just as many auctions as last year, which is amazing. But even beyond that: our donation total —just 10% lower than last year's massive record— is 150% higher than our third best year, making it a very close second.

So are you ready for this year's grand total?

This year

thanks to all of you

FTH raised...

$47,361.75!

Which brings our seven-year total to

$239,507.86

Thank you so much to our 616 creators who offered 800+ auctions in over 400 different fandoms and subfandoms, and to everyone who bid! Also a special shoutout to our record 17 crafters who raised over $2500 of this - three times as much as any of our previous craft bazaars!

Your returning mods (@porcupine-girl, @captainbunnicula, @tiltedsyllogism, @anyawen, and @renjunbabygirl) would also like to give our heartfelt thanks to this year's two additions to the mod team, @trickybonmot (who has been a mod before but was returning after several-year absence) and @a-still-small-vox (who is brand new to this whole thing). Given everything that went down this year, the auction literally could not have happened without them. They've been ridiculously awesome.

Creators, be sure you contact your bidders by April 1, and bidders, on your end please respond to their communication by April 15!

Once the fanwork is posted, let us know via our form (can you believe six creators have already finished??) and if you're posting it on AO3 be sure to add it to the Fandom Trumps Hate 2023 collection. If you're writing a fic for FTH and need help from our Regiment of Fan Laborers, email us!

As always, we hope that for at least some people, your involvement in FTH will lead to continued action throughout the year. Sign up for our organizations' email lists, check out their volunteer opportunities, and help boost their signals on social media!

And if you'd like to run your own fanworks auction for a good cause, we can help get you started! Contact us at fandomtrumpshate at gmail.com and we can send you our auction playbook, as well as answer any questions you have about our process.

Your mods are going to be going into post-auction hibernation mode (or, for most of us, post-auction deal-with-all-this-other-stuff mode) for a little while. So if you email us, don't panic if we don't get back to you immediately! We will start actively monitoring the inbox again by April 15 at the latest.

Here is a quick snapshot of the donations to individual organizations - see below the cut for all of the totals!

We hope to see you all again next year!

Amounts raised for each of our individual orgs:

TLDEF $8,594.5 (18.15%) DigDeep/Navajo Water Project $7,037 (14.86%) Rainbow Railroad $5,970 (12.61%) Sherlock’s Homes Foundation $3,169.5 (6.69%) Life After Hate $3,069.75 (6.48%) Never Again Action $3,062.75 (6.46%) Citizens’ Climate Education $2,235 (4.72%) Xerces $2,103 (4.44%) Razom $2,101 (4.43%) Violence Policy Center $1327 (2.80%) NNtEDV $1,157.75 (2.44%) The Appeal $935 (1.97%) Other organizations (that aren’t abortion funds) $1,151 (2.43%)

All abortion funds $5,468.50 (11.54%) Indigenous Women Rising $2,073 (4.43%) other abortion funds $1,184.50 (2.50%) Abortion Fund of Ohio $963 (2.03%) KY Health Justice Network $634 (1.34%) New Orleans Abortion Fund $349 (.74%) Buckle Bunnies $240 (.51%)

#fth 2023 #donation totals

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omgthatdress · 1 year

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Cécile and Marie-Grace were released alongside the best friends line of dolls, and are a pretty transparent gimmick to get people to buy two dolls at once. That being said, I actually kind of love their collection.

Their story is set in New Orleans in 1853, which is a pretty great way to represent the Antebellum South without having a Scarlett O’Hara doll. New Orleans was one of the few places in the south with a robust middle class. Everywhere else had tremendous wealth inequality with absurdly rich plantation-owners, barely surviving poor Whites, and slaves.

Cécile is of the gens de coleur libre, that is, the free people of color, a class of New Orleans citizens born out of the plaçage system in which White men would take women of color as informal second wives. Plaçees held a really interesting position, as they could legally claim inheritance once their patron died, and the children born of plaçage could be named heir of an estate. Plaçees were also allowed to develop assets and run small businesses. All of this created a level of generational wealth that was unique among African-Americans at the time. Today, their descendants are known as Creoles.

As far as Marie-Grace goes, I don’t think she’s Cajun, just French-American. Cajuns are a specific group, the Catholic descendants of the French colonizers of Acadia, now called Nova Scotia, who were forced by the British out of the home. They settled mostly in the fertile Mississippi delta, and maintained a rural, somewhat insular way of life. Marie-Grace is the city-dwelling daughter of a doctor, so probably just the descendant of regular French citizens who settled in New Orleans.

Hair-wise, this is the era when girls tied their hair up with rags at night to have fat sausage curls in the morning. Most photographs and paintings that I’ve seen of Black girls in the era show them with their hair tied up, but there are a few who had curls.

Marie-Grace’s face-framing curls are a little bit more Jan Brady than 1850s, but it’s cute on her, so I’ll give her credit for that. The long hair isn’t inaccurate.

There’s something about Cécile’s dress that keeps saying “wrong” but I can’t quite put my finger on it. A more accurate dress would be more along the lines of something like this:

(The Victoria & Albert Museum)

(New York Historical Society)

Marie-Grace’s dress seems to have been inspired by this portrait of Creole children:

(credit to @in-pleasant-company for finding it)

Cécile’s pillbox hat is a style that was adopted more in the late 1860s and 1870s. A more accurate hat would also have her in a “coal scoop” bonnet.

Her gloves, however, are accurate and adorable!

(The Met Museum)

Marie-Grace is wearing a kind of sun hat that was popular for children:

(The Met Museum)

Marie-Grace’s fan looks typical of the French fans that were popular at the time. They were usually painted with pretty pastoral scenes instead of flowers, however, although Chinese fans at the time frequently had floral themes.

(The Philadelphia Museum of Art)

(The Victoria & Albert Museum)

The shoes are definitely late Victorian rather than 1850s. Fine city ladies in the 1850s would be wearing boots made out of silk with leather soles:

(The Met Museum)

#1850s #American Girl #Cécile and Marie Grace

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pub-lius · 2 months

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its intriguing to me how you know so much so instead of asking a question about said knowledge im gonna ask how u know all this?-?/?-

oh hey!! the simple answer is autism but i'll give more specifics

so i've always been a nonfiction guy, and i first started doing historical research when i was really young on the history of New Orleans from my school library, which was abundant since I'm only about 40 minutes outside the city. every week we could check out two books so i'd check out two history books (or books on ghosts, dogs, or greek mythology, i'm kind of a jack of all trades) and just. read them for fun.

later on, i started writing essays in my free time about the things i was reading about to summarize what i was learning (this blog is just a digital version of that). from this point until, well, now, i was taught how to do research online in school and also kinda figured it out on my own and this extended to my other interests which, at the time, was psychology (i still study psychology but just for school).

its not a shock to anyone that my research on the american revolution and american history in general began when i listened to hamilton, and i started researching information about the events portrayed in the musical online. i read yk the online articles about the lives of the characters, then the relatives and friends of those characters. then i found the government archives and started reading through hamilton's letters. then i started giving all my money to bookshops and now i have a library of fully annotated history books, bookmark folders full of secondary and primary sources, and exactly $1.88 to my name (not exactly but its funnier to say that).

i am very privileged to be able to pay for books and have transportation to libraries and bookshops and the archives and whatnot, and i take full advantage of it!! i was actually kinda called out by my law teacher today because he said that usually people get addicted to things that are fun and not tedious while looking right at me. so. that's a fun thing that happened today.

knowledge is just a collection of facts, and intelligence is the accumulation of skills, and so i do my best to get both. so really any knowledge i have is just enough free time to accumulate enough facts to keep me yapping 24/7/365 and enough skills to make it seem that i vaguely know what im talking about!

#history #and in summary i am a fucking ACADEMIC WEAPON #i am ON THAT GRINDSET MINDSET #THE GRIND DOESNT STOP #FREDDIE MERCURY SAID I WANT IT ALL AND HE MEANT IT #FREDDIE MERCURY SAID THATS WHY THEY CALL ME MR FARENHEIT AND HE MEANT IT #RISE AND GRIND PEOPLE #DONT DISAPPOINT MR MERCURY

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liesmyth · 3 months

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Happy end of January! here are all the books I read this month

Black AF History: The Un-Whitewashed Story of America by Michael Harriot.

Exactly what it says on the tin! Very good pop history book, tremendously well researched; actually very funny. I HIGHKEY recommend the audiobook if you can get it. Favourite book of 2024 so far.

Benjamin January mysteries by Barbara Hambly. I've read three of them this month because they're excellent. (A Free Man of Color, Fever Season, Graveyard Dust.)

Historical fiction + murder mystery set in 1830s New Orleans, and I love the atmosphere as much as I do the characters. You know those books where the city is its own character? THAT. Excellent vibes, very thoughtfully researched, and the character dynamics are excellent. (CW for period typical racism all over the place as the main character is a dark-skinned Black man in 1830s New Orleans; no gratuitous edginess)

Children of Time by Adrian Tchaikovsky

THIS BOOK HAS SPIDERS IN IT. Just putting it out there because I very much missed it, and the spiders are a big deal. Scific, space opera. 10/10 would rec unless you're violently arachnophobic, then proceed with caution.

Don't Fear the Reaper by Stephen Graham Jones

Second book of the Indian Lake Witch trilogy. Unfortunately not as cool as the first but I'm hype for the third book coming out! If you like poetically described gore, and badass horror ladies, read the first book first. This one isn't quite on that level but there IS death and destruction <3

Four Thousand Weeks: Time Management for Mortals by Oliver Burkeman

I can't believe I 1) finished a self-help book and 2) I'm really out here recommending it to people, but I really found it useful. Will wonders ever cease?

Nineteen Claws and a Black Bird by Agustina Bazterrica

Horror short stories collection. A couple were bangers, a few were absolute duds.

Take My Hand by Dolen Perkins-Valdez

Do yourself a favour and don't read this. Allegedly historical fiction; in practice, the "fiction" part is extremely dull and the book doesn't have anything going for it except the ripped-from-the-headline case of the Relf sister. The cover is pretty, I guess.

Unwell Women: Misdiagnosis and Myth in a Man-Made World by Elinor Cleghorn

Tremendous read. Medical misogyny through the ages, with an eye to intersectionality; I have some nitpicks about the tone of the writing but I'm still going to recommend it to everyone. (link goes to my GR & we should be friends)

Vendetta ai Mondiali by Paolo Foschi

This is a prize for a few elects (Italian speakers). Italian sports-themed detective novel except the grizzly detective is gay... I feel like this was written for ME personally.

The Wee Free Men by Terry Pratchett

Unfortunately, I'm running out of new-to-me Discworld novels! This made me very happy but also very emo.

#book talk

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adventuressclubamericas · 8 months

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Canal Street, New Orleans, Late 1920s

Photo source: Historic New Orleans Collection

#miss fisher's murder mysteries #mfmm #miss fisher con #miss fisher and the crypt of tears #missfishercon #the adventuresses’ club of the americas #new orleans #big easy #jazz #prohibition

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la-femme-au-collier-vert · 19 days

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Here’s a great video I found on the racist history of New Orleans Mardi Gras parades, and the resistance groups that made it what it is today, made a few years ago for The Historic New Orleans Collection museum. The speaker, Rien Fertel, teaches a History of Mardi Gras course at Tulane.

youtube

#Mardi Gras #New Orleans #Louisiana #rien fertel #History

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clove-pinks · 3 months

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Exactly what uniforms were worn by state militia in the War of 1812 is a debatable question. Surely, many men wore hunting frocks and other irregular types of clothing; the United States struggled to field a professional fighting force.

But there is a certain trend I have noticed in how militia are depicted. You have, say, Kentucky militia—the Hollywood version!

(By artist Andrew Knez Jr., c. 2019, this is supposed to be at the Battle of New Orleans in 1815).

And then you have—with an actual extant uniform—a Kentucky War of 1812 soldier's coatee, reality version!

This belonged to a well-known public figure, Charles Stewart Todd, and you can find it in the Kentucky Historical Society's collection! It is not a manipulated image: he really did that with padding and (I assume) a Regency-style men's corset.

Another example of a real, extant Kentucky militia coatee belonging to Jarvis Jackson shows distinct Napoleonic era military style—and it's not a fringed hunting frock. He probably wore it with Hessian boots, not mocassins.

Anyway. I am slightly in a tizzy about this. Primary sources are few and far between, and I feel like I'm battling some kind of 1950s TV show mythology with coonskin caps.

#war of 1812 #kentucky militia #military history #uniforms #dressed to kill #napoleonic #1810s #20th century ideas about rugged masculinity vs. what these frontier fighters actually wore #they liked tophats with cockades and plumes #they wanted to look nice by the standards of their own time!#dress history

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jadeseadragon · 1 year

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Jacques Guillaume Lucien Amans (French, 1801 - 1888), Creole in a Red Headdress, c. 1840, oil on canvas, 28¾ × 23⅝ inches; Historic New Orleans Collection.

#jacques amans #jacques guillaume lucien amans #portraits

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iwtvfanevents · 2 months

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A Challenge Every Sunset is run by a group of like-minded AMC IWTV fans, to foster creativity and positive engagement in this burgeoning fandom through events, prompts and challenges.

About and tagging system ►

All events and initiatives ►

Participation guidelines below ▼

Participation guidelines

The show brings to the table sensitive subject matters such as racism, addiction, domestic abuse and sexual violence. While any work of art may be critiqued, we find that the show’s handling of these “delicate” and “dark” topics is overall careful and nuanced, and we believe similar care and thought should be given by fans.

As a general rule, we ask you to keep in mind how your work responds to harmful stereotypes or bigoted tropes, and to be mindful, take due care and conduct your research when tackling sensitive subject matters.

We take a look at all fanworks submitted as part of our events before we share them, and those dealing more explicitly with sexual violence, incest, and pedophilia will likely take some more time to be reviewed, and will only be accepted into collections and/or shared on our accounts if there’s agreement among moderators.

If a given work is not accepted, we won’t contact the creator, but we welcome creators to reach out to us for information. On a case-by-case basis, we might specify the reason for rejection and, if the creator is interested, we might be able to provide more details, resources or feedback.

More specifically, when creating any fanwork —but particularly your submissions to this account’s events— we urge you to keep the following points in mind:

When writing about the Rue Royale era, Creole characters and New Orleans during Jim Crow, make sure to fact-check so as not to fall into ahistorical portrayals. Similarly, consider the material realities of structural homophobia and the heteropatriarchal family in the show’s historical settings. More broadly, keep in mind that white supremacy and patriarchy fundamentally affect every aspect of life, including how we interpret other’s art and the art we put out into the world in turn. And, in general, take care to do research when dealing with specific and potentially unfamiliar contexts —be it the experience of people of color in Europe during and after World War II, the lives of South Asian workers in Dubai, the unfolding of the AIDS crisis, or the practices of Islam, consider whether your work is making a statement that should be grounded in reality.

When writing about Louis, Claudia and other Black characters, keep in mind common stereotypes regarding Black people, such as the “Mandingo” stereotype or the “Sapphire” “Jezebel,” and “Mammy” stereotypes. When writing about Lestat and Louis’ relationship, avoid making Louis a receptacle for Lestat’s emotions, and generally avoid having Black characters only function in the narrative to perform emotional labor for their white partner. And, as this is a show heavily concerned with queerness, we urge you to also take into account common (and inaccurate) ideas that Black people are more homophobic or more ignorant about gender and sexuality. Also consider how you portray Black characters’ anger or aggression, particularly in comparison to white characters.

In general, we encourage you to keep revisiting the source material to make sure your characterization is grounded and true to canon.

In art, be mindful of exaggerating Black characters’ bulk, size, and features in comparison to non-Black characters, and likewise for characters of color in general in comparison to white characters. If in doubt, look up heights and picture references to avoid fetishistic depictions. Also consider how you color art, being mindful not to whitewash Black characters and characters of color, or darken their skin tone in relation to the actors portraying them.

We consider it essential not to lose sight of how moving through the world as a Black girl conditions Claudia's experiences. Though she grows past her physical age, the widespread adultification of Black children is still something to keep in mind when interpreting her character: Black girls, especially darker skinned girls, are consistently seen as less innocent, more mature, less vulnerable to pain or hurt, angrier, and more calculating in their actions than their white peers.

Remember that Armand is played by a South Asian actor —be wary of conflating being muslim with being Arab, and keep common anti-Asian, islamophobic and orientalist stereotypes in mind. Because Armand’s backstory hasn’t been revealed yet, and it seems safe to assume his forced conversion will remain a plot point, you may take different approaches regarding Armand’s faith. That said, we are likely to reject scenarios in which Armand originally comes from a christian background.

The text of the show deals with abuse and sexual violence. It presents common misconceptions about abuse, particularly domestic abuse, and problematizes them. When writing about the relationships in the show, and particularly the canon plot, we urge you to consider how words specific to abuse are used —terms such as “gaslighting”, “love-bombing”, or “mutual abuse”— as well as common victim blaming rhetoric and abuse apologia (they didn’t mean it, they feel terrible about it, they were forced by circumstances); and to keep in mind established frameworks to think about abuse such as DARVO, and the harmful and widespread ideas about fake accusations of abuse.

In general, we discourage any canon-compliant (or canon-adjacent) scenarios in which Lestat “didn’t actually” or “didn’t really” abuse Louis and Claudia, “it wasn’t as bad”; it was “more equal” than we’ve seen, etc. or in which Louis and/or Claudia were the real victimizer/villain. Likewise, we suggest avoiding scenarios erasing or minimizing Armand’s actions in Paris. This type of content is likely to be outright rejected.

When adding tags and warnings

We think that tags and warnings are essential to ensure that the fandom experience remains enjoyable and safe for all of us. If you want the fanworks you create for an event to be shared on our accounts, make sure that you are tagging or describing your work accurately —we consider that vague tags such as “dark content” or “Dead Dove Do Not Eat” on their own are not sufficient enough to warn readers of the subject matter.

If we believe that a particular submission could be potentially triggering, we might choose to share it with added warnings of our own, be it in a reblog or tags.

Immortal children and the “Underage” warning

In the case of fics in which Claudia is chronologically an adult, we strongly recommend not using the “Underage” warning for her relationships. We consider it’s important not to dilute the weight of the warning, and encourage you to reserve it for fics in which the underage character in question is chronologically, and not just physically a child. This doesn’t preclude that you might want to add additional tags or notes with more detailed content warnings if your fic features a character who’s physically a child in a relationship with someone who’s physically an adult, but we encourage you to keep the standardized AO3 tag for “actual” children.

Other considerations

Some specific subjects and tropes that are likely to be outright rejected include:

Prison AUs

Slavery AUs

Whitewashing of any character

Raceplay and racist fetishization

Explicit child sexual abuse

Parodies of other fanworks that are identified as such will be rejected. If you believe an accepted submission is a parody of another work, please reach out so we can look into it.

Rules of engagement

Participation in a fan event isn't a need, and running this account isn't a public service. As moderators, we reserve the right not to engage with any message, comment, post or account; at our sole discretion and with no obligation to provide explanations regarding our decision to do so.

This doesn’t mean, of course, that we are completely closed off to conversation.

If your submission to our collections was rejected, if we haven’t shared your post, or if you have any question about this account, please feel free to contact us —just keep in mind that we might decline to answer. Requests to keep our correspondence private will be respected, as long as we aren’t sent hate speech or harassment.

What does reserving the right not to engage mean?

Fanworks or posts whose content we do not feel comfortable endorsing will not be shared on our accounts or added to the AO3 collections that are created for this account's events.

Messages or comments which we find to be hostile or in bad faith will be reported and/or blocked.

Accounts that we do not feel comfortable interacting with may be blocked as well.

Still, we would like to clarify that it’s not always possible for us to thoroughly review a “rec list” with many fanworks, and we don’t necessarily endorse every item included in such a post when we share it. Likewise, some of the content from our earlier events might have been accepted/shared while we were still figuring out our criteria for moderation, and might skirt the line of what we’d consider acceptable right now. If we become aware of such a case, we might remove the entry after the fact.

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