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Sarah Rees Brennan

@sarahreesbrennan / sarahreesbrennan.tumblr.com

A perpetrator of great cruelty against innocent words. Yes, that's right! Author of IN OTHER LANDS, UNSPOKEN, THE DEMON'S LEXICON and the upcoming LONG LIVE EVIL
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Happy Bard-day to all who celebrate. Shakespeare turns 460 today and I must celebrate his influence on Long Live Evil. He created many unforgettable villains (e.g. Edmund of King Lear, ‘now gods stand up for bastards’ a personal crush!) but I’ve always been fascinated by his play Richard III - a real person, and the last Plantagenet king, supplanted by the Tudors reigning in Shakespeare’s day, i.e. Shakespeare had to BLACKEN his name. That meant Shakespeare also wrote Richard III as the kind of man who could seduce a widow, on the day of her husband’s funeral, after killing the husband in question! What can I say, baby? Evil’s just sexier.

Shakespeare being a genius was part of what made Richard III’s name echo with infamy down the ages. Josephine Tey’s A Daughter of Time gives us a very different Richard. But isn’t that the case with Jane Eyre and Wide Sargasso Sea, or a thousand fanfictions for a thousand properties, or Shakespeare himself with the legend of Romeo and Juliet, all asking ‘why’ and ‘what if’ and ‘can we explore…’

The best stories ask: who’s telling the story? How does that change the story? How many different ways are there to tell it? What do you do with the story people are telling about you? Who’s good, who’s bad and who’s interesting? That’s why, three years ago, I picked this epigraph for LONG LIVE EVIL. Thanks to the Bard for a perfect opener.

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I've spent all afternoon thinking about the line from Wentworth's letter "you sink your voice, but I can distinguish the tones of that voice when they would be lost on others" and about how that really is the most important part of the letter. Yes "you pierce my soul" and "I have loved none but you" and "I offer myself to you again with a heart even more your own than when you almost broke it, eight years and a half ago" are all more swoon-worthy. But the whole point of Persuasion is how Anne suffers because none of her friends or family acknowledge her needs or anything she says. She is made small by everyone around her. She is persuadable because she has been stripped of her agency; not by the circumstances of her life, but because the people in her life have talked over and down to her so much that she has stopped resisting. She knows that she won't be heard, so she just stops speaking. But then Wentworth hears her voice! He hears her, sees her, and he loves her for who she is, not what he wants her to be. I think Jane Austen knew exactly what she was doing by including that line. It's so subtle in such a purposeful way.

Thanks for coming to my ted talk

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Lil Nas X did a cover of Jolene and Dolly Parton responded to it on twitter

Image descriptions under the cut

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baredwolf

From Dolly’s insta:

I feel like it gets a bit lost, with how readily we meme his songs online, but Lil Nas X really does have a beautiful country singing voice. He might have the best voice for soulful, impassioned, male country vocals since Johnny Cash, and this cover really shows that off.

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teethleave

“But pain doesn’t destroy language: it changes it. What is difficult is not impossible. That English lacks an adequate lexicon for all that hurts doesn’t mean it always will, just that the poets and marketplaces that have invented our dictionaries have not—when it comes to suffering—done the necessary work.

“Suppose for a moment the claims about pain’s ineffability are historically specific and ideological, that pain is widely declared inarticulate for the reason that we are not supposed to share a language for how we really feel.”

—Anne Boyer, The Undying: Pain, Vulnerability, Mortality, Medicine, Art, Time. Dreams, Data, Exhaustion, Cancer, and Care

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