Literati + text posts

↳ See also: Rory on Jess + text posts / Jess being completely in love with Rory + text posts

On my Gilmore Girls rewatch I noticed that Rory and Jess's first meeting after she got back from Washington had a key line:

Jess: are you still with Dean?

Rory: Yes

and that was it. She said that and he left. Jess may not be in the moral right for originally pursuing Rory when she was with Dean, but with this key line I see it as a "I'm making sure you know I'm here, I'm making sure you know how I feel about you, and now the decision is up to you." But as soon as Jess has played his cards and she's still with Dean, he leaves her alone and he stops trying to pursue her. Idk I just think it's a nice difference from Logan and Dean who put Rory into the role of being the "other woman" and being a cheater. Jess never intended for Rory to cheat with him. He wanted her to choose him fair and square.

I love Gilmore Girls but Rory Gilmore is the most selfish, entitled, unlikeable character in the entire cast. She's told repeatedly how special she is, she does whatever she wants whenever she wants, nothing is ever her fault, and she never suffers any consequences. I want to slap her. I want to throw up directly into whatever novel she's currently reading that makes her better than you.

a big blog rbed my post and now it's getting much more traction theni thought

I want to dissect Marty Healy like a frog.

random miscellaneous text posts/quotes i found on pinterest that have literati energy part 1/?

Hi everyone! Here’s the newest addition to my Creator Shoutout Series (march 19 - march 26)! For info about the series, I explained it in the first post here, but generally, it’s to show appreciate to editors and their creations that i love from the past week. To track this series or look at previous shoutouts, please check out the tag on my blog *creatorshoutouts. Have a great week everyone!

taylor swift: lwymmd graphic by @cametotheshowinsd

pride & prejudice gifset by @hmione

the last of us: joel miller gifset by @eddie-dustin

noah kahan: orange juice graphic by @superhell​

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daisy jones & the six gifset by @rileykeouhg

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the last of us: ‘every friend group should include’ gifset by @nickoffermen​

taylor swift: eras tour art by @skylarthoneart​

atonement: cecilia tallis + outfits gifset by @frodo-sam

the last of us: ellie and joel gifset by @arthurpendragonns​

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scream 2 (1997) gifset by @carlarosonn

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love me if you dare (2015)

the literati in troubled times (2015)

the red (2014)

multiple works in one post

non-drama stuff

Jane Austen was a conservative. Not by anachronistic standards imposed from the present day, but by the standards of her own society. She treasured a high degree of rational self-control, a Christian inner discipline. Her villains, meanwhile, are flashy romantics. She knew how a society should be reformed: slowly and through the accretion of novel private affections allowing for the flexible transmission of property among the aesthetically and ethically deserving. Even if she “would have appreciated a good sex party,” she would not recommend it for general enjoyment, the reservation of some pleasures for an elite responsible enough to enjoy them without compromising social stability being a crucial plank of conservatism. (And how many living authors would actually appreciate a “sex party”? How many have been to one? What even is a “sex party”—an orgy? I’ve seen Eyes Wide Shut; I’ll pass.)

I’m not a reductionist historicist critic. I don’t believe texts are written by “the circulation of social energies.” I believe they are written by powerful sensibilities of universalizing force and are only interesting insofar as they transcend their moment. And if people find other meanings in Austen’s novels than the meanings seemingly conditioned by the era, who am I to stop them? But the deconstructionist quest for subversive reading, reading against the grain, which once impressed me as a daring exercise in creative criticism, now feels more like narcissism, a search not for the vaunted “difference” but for abject sameness, for a way in which everyone we wish to admire turns out to be just like us. “We don’t want other worlds; we want mirrors.” Whereas there’s something usefully bracing, at least to the complacently and compulsorily subversive literati, about one of the great literary minds offering such an intricate, beautiful challenge to the current cultural order. Even if, contra the Woolf of A Room of One’s Own, I might, in some moods anyway, prefer Charlotte Brontë, who judged the rational Austen to be too far from nature, imagination, and feeling to be a great writer.

In late May of 2020, still relatively locked down and on the eve of the social disorder soon to erupt, after two months of forced inertia during which I tried to absorb the ideological drift of this society, I read Sense and Sensibility and thought about what Austen’s conservatism might mean for us in a way that did not simply mirror our desires—nor absolve so influential a writer for having in part shaped them. I wrote:

Today we have replaced Austen’s socio-sexual contract—rationally feeling man provides rationally feeling woman a household, in return for which she proffers the intimate superintendence that legitimizes middle-class power—with the one foretold by Woolf and codified by Morrison on the utterly sympathetic behalf of social elements Austen haughtily ignores (the queer, the colonized, the marginalized). Yet just as Austen didn’t intend for her innovation in the form of the novel—free indirect discourse—to aid the triumph of an individualism she otherwise feared, so Woolf and Morrison might hesitate before the world their own innovations have helped to materialize. Now desiring individuals, liberated from the heterosexual bourgeois household and almost from gender itself, atomized in metropolitan space, form temporary contracts in a gamified and pornified virtual marketplace that funds (where it is not funded by credit) the means of social reproduction in the academic diaspora of broader “online.” This is the state of middle-class woman now (and “middle-class woman” is more a class category than a gender one: if you’re reading this—or, indeed, writing it—the term applies to you).

Marianne Dashwood (or Lily Briscoe or Sula Peace) has triumphed: today, she issues defenses of desire on podcasts and Patreon and posts pictures of her swollen ankle and putrid tonsils for the fetishists among her OnlyFans subscribers. If Elinor still functions as her conscience, she does so in the administrative bureaus of the corporation and university—human resources, diversity and equity—where her job is to intercept and interdict threats to the untrammeled unfolding of Marianne’s consciousness. This metamorphosis has undoubtedly liberated the individual from the stifling convention of bourgeois domesticity, but is the place where it has installed her now, where she must sell soul and body by algorithm just to stay alive, any less a prison?

It occurs to me, rereading this, that I was here trying to envision Austen at an orgy; but I was unable to imagine her enjoying it. 

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↳ Jess being completely in love with Rory + text posts

This came totally out of left field but Rory taking Jess to Italy with her and people recognizing Mariano is an Italian name but Rory knowing more Latin/Italian than him-

Pick your poison:

Friends to Lovers

Enemies to Lovers

Call me bloodcurse, fair hair shriveled & sprouting teeth, stain across the temple floor. Do not make me tell this story without a forked tongue.

Torrin A. Greathouse, Medusa with the Head of Perseus

Jess Mariano urls

@mcuspidey has a few saved jess urls that they are interested in giving away. They urls are: jessmarianodaily and jessmcriano. If anyone is interested, please contact them.

Thank you!!