tbh................ i love tess of the d'urbervilles and other fictional womyn who suffer from events outside of their control n usually end tragically/die and its fckked up but i identify lol this 2 deep im going to sleep

Come to me, come to me, and save me from what threatens me.

Tess of the D'Urbervilles

I'm so happy I'm not a lowkey TERF like 99% of Tumblr and that I'm not on Tumblr anymore and that I'm going on vacation this weekend and don't have to think about the internet or interacting with anyone for 3 whole days.

Pain had never been a friend to me before, but now it kept me still. It forced reality on me and kept me sane.

- Kindred, Octavia Butler

I read books about slavery, fiction and nonfiction. I read everything I had in the house that was even distantly related to the subject--even Gone With the Wind, or part of it. But its version of happy darkies in tender loving bondage was more than I could stand.

Then, somehow, I got caught up in one of Kevin's World War II books--a book of excerpts from the recollections of concentration camp survivors. Stories of beatings, starvation, filth, disease, torture, every possible degradation. As though the Germans had been trying to do in only a few years what the Americans had worked at for nearly two hundred. 

Kindred, Octavia Butler

In Men, Women and Chain Saws: Gender in the Modern Horror Film, Carol Clover advances the idea that the primary pleasure for male viewers of the genre is a masochistic rather than a sadistic one, but her concern with gender is strictly limited to male viewers. In The Monstrous Feminine: Film, Feminism, Psychoanalysis, Barbara Creed, who turns her attention to female monstrosity, maintains that the monstrous-feminine in the horror film speaks to men about their fear of women, but she has little to say about how it might speak to women about female power. Both books center the male viewer and neglect the question of female audience pleasure in the horror film. This question has by now become a structuring absence of horror film criticism. 

My discussion of the horror film is motivated by a desire to disrupt the facile assumption that the genre does not speak to women but only about them, and that it does this in a degrading manner. The postmodern horror film's routine staging of the spectacle of the ruined body, particularly the female body, calls for a feminist analysis. Moreover, the historical conjunction between the emergence of the postmodern horror film and the advent of the second wave American feminist movement in the early seventies begs the question: How have feminist protest and antifeminist backlash informed the character of the contemporary horror film?  

[...]

Although I agree that it matters what representations of women abound in culture, the tendency to see the horror film as monolithically destructive of female subjectivity overlooks the contradictory dynamics within the genre as well as the complexity with which audiences respond to it. The antihorror discourse sees only how the genre has been formed by antifeminist backlash but overlooks how feminism has informed the genre. The horror film is a contradictory form that must be understood in all its complexity lest we misinterpret popular culture or underestimate its subversive potential.

Isabel Cristina Pinedo, Recreational Terror: Women and the Pleasures of Horror Film Viewing