Your Daily Reminder You Can Download A FREE Copy Of Stone Butch Blues Off Of Leslie Feinbergs Website

Your daily reminder you can download a FREE copy of Stone Butch Blues off of Leslie Feinberg’s website

"polyam is a choice-" okay no shut the fuck up

for some polyam people, yes, they would be comfortable being in a monogamous relationship, and poly may be a preference, but not all polyam people are like this.

it pisses me off that people keep saying it as if i didn't sit here and try to repress this part of myself and live in misery and ruin every relationship i have and just hate this part of myself for almost fifteen fucking years

i didnt CHOOSE to be poly just like i didnt CHOOSE to be trans or omni

stop saying all fucking poly people choose its pissing me off

Happy/L.A. Hyder, Self Portrait at 40, 1987

I feel all my work is informed by who I am as a lesbian. That no matter what it is, it’s lesbian art… I want to be visible as a lesbian and as an artist, to be able to hold my identity wherever I am and still be included in non-lesbian-identified art exhibits and non-sexual art exhibits. I think most of the art we see that is identified as done by lesbians has a sexual context. I have no problem with art with a sexual content, but that’s almost all that’s shown unless we put our own exhibits together or we go to places that are alternative.  I’ve been thinking about censorship and I have a question. Do we tend sometimes in our lesbian content or in our desire to do lesbian content, to censor ourselves so we don’t get censored? Is lesbian art inherently political art? I don’t think so. Although saying I’m a lesbian gives it a kind of a curve, it’s a political act by an artist. I wonder when a curator who likes my work and wants to put it in an exhibition learns I’m a lesbian, is that going to color their decision? To identify as a lesbian is often to take a risk.

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I was looking at this scene to make a different post about it, and I just want to draw attention to how good the storyboarding is here. Look at the way adult Grace turns and looks up as her mother walks by. The directing implies that Grace's mom is absolutely towering over her, without having the two of them really get close enough, or providing any visual clues in the foreground or midground, to let us make a proper comparison. It creates this dreamlike impression that adult Grace is child-sized compared to her mom, without distracting the viewer from the emotional impact of the scene by giving us a shot that confirms Grace's mom is like Lady Dimitrescu levels of absurdly tall in this flashback.

Actually, seriously - even compared to child Grace, her mom still looks kinda Lady Di scale. The way little Grace is proportioned here, her size compared to the props, and the age of her voice, all make me think she's old enough and big enough that even an adult woman would have to be really tall to loom over her like that. But it's clear in a bunch of other shots, especially the mall cop office scene towards the end, that Grace's mother isn't particularly tall.

Older Grace isn't just small here because she's reliving a memory from her childhood. She's small because this memory makes her feel that she is very small and her mother is very big. The visual motif of size as a metaphor for a character's dominance, power, superiority, or prominence is important to Grace's character arc, although I think it's not quite as salient to her story as it is to Simon's.

16 Transgender Manga Characters

Grell Sutcliff (Black Butler) | Nao (Ice Revolution) | Hikaru Asahina (Mascara Blues) | Sara Nikotama (Ai no Shintairiku) Claude de Montesse (Claudine…!) | Yuuki Nomura (No Bra) | Tetsuo Sawamura (Yuureitou) | Shuuichi Nitori (Wandering Son) Umi Takano (Sazanami Cherry) | Seiko Kotobuki (Lovely Complex) | Isabella Yamamoto (Paradise Kiss) | Marika Aoki (Bokura no Hentai) Aika Maki (Mermaid Line) | Jeanne Hishida (Genkaku Picasso) | Alluka Zoldyck (Hunter x Hunter) | Maho (Double House)

Anne Boonchuy and the Art of Affection

Don’t mind me just imagining an older Anne, Sasha, and Marcy after Amphibia.

If there was one thing Anne Boonchuy had learned over the course of her life, it was that different people desired affection in different ways. No two people were quite the same in how they showed, gave, or reacted to a good hug or a kiss on the cheek.

Take, for example, her girlfriends Sasha Waybright and Marcy Wu. Those two were very different, and, as a result, required their own special tactics to make them melt in her arms.

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