Reading Black Joy: F/F Romances by Black Authors

It’s been ages since I posted, and even longer since I wrote fic, but I was inspired after binging Hollywood on Netflix. I thought Camille and Raymond were super sweet together, and he has a line about hoping to marry her one day that inspired this whole thing.

It’s posted on AO3 if you want to check it out:

Fic: From First to Last Hypothetical (Hollywood)

Women, they have minds and they have souls as well as just hearts. And they’ve got ambition and they’ve got talent as well as just beauty, and I’m so sick of people saying that love is just all a woman is fit for. I’m so sick of it! But… I am so lonely. Little Women (2019) dir. Greta Gerwig

This scene is so beautiful.

Lesbrary Link Round Up

[image description: a collage of 16 covers of the books mentioned in the links below, with the text “Lesbrary Links: Bi & Lesbian Lit News & Reviews]

This is the Lesbrary bi-weekly feature where we take a look at all the lesbian and bi women book news and reviews happening on the rest of the internet!

[image description: the covers of Gnarled Hollow by Charlotte Greene, It’s Not a Date by Heather Blackmore, On a Sunbeam by Tillie Walden, What You Want to See by Kristen Lepionka, and Hazel’s Theory of Education by Lisa Jenn Bigelow]

The Golden Crown Literary Society Award winners were announced!

LGBTQ Reads posted TBRainbow Alert: Middle Grade.

Women and Words updated their New Releases and Coming Up page.

“Lambda Archives Stores San Diego’s LGBTQ History” was posted at kbps.

“I Could Spend All Day Looking at the Covers of These LGBTQ Publications” was posted at JSTOR Daily.

“Getting Queer Comics Into Libraries” was posted at The MNT.

[image description: the covers of Tell it to the Bees by Fiona Shaw, Work!: A Queer History of Modeling by Elspeth H. Brown, La Bastarda by Trifonia Melibea Obono, Sugar Land by Tammy Lynne Stoner, and Going Off Script by Jen Wilde]

“My book Tell it to the Bees was made into a film – but they changed the ending for a straight audience” was posted at The Conversation.

Work!: A Queer History of Modeling by Elspeth H. Brown was reviewed at Lambda Literary.

La Bastarda by Trifonia Melibea Obono was reviewed at Did You Ever Stop to Think.

Sugar Land by Tammy Lynne Stoner was reviewed at Lambda Literary.

Going Off Script by Jen Wilde was reviewed at Green Tea & Paperbacks.

If you like what we do at the Lesbrary and Bi & Les Lit, support us on Patreon at $2 or more a month and be entered to win a queer women book every month!

The Golden Crown Literary Society has announced 15th Annual GCLS Award Winners!

Ann Bannon Popular Choice: A Proper Cuppa Tea by K.G. MacGregor

Combined Non-Fiction: The Liberation of Ivy Bottini: A Memoir of Love and Activism by Judith V. Branzburg

Contemporary Romance Long Novels: 

Contemporary Romance: Mid-Length Novels: 

Keep reading

Analysis of Come What May

Someone noticed that the performance of CWM had a lot of similarities to the entire Klaine arc, so I decided to take it a bit further:

It starts at this point:

This represents the beginning of season 2, when Kurt is chasing after Blaine. You can see how Blaine is “oblivious” by the way his back is turned towards Kurt. I never thought I’d find someone like Blaine. And there he was.

Next part:

When Blaine turns around, this signifies when he finally falls for Kurt. You can see how his face mirrors the look he had during Blackbird. Oh. There you are. I’ve been looking for you forever. 

Next:

When Kurt leans into Blaine and they are joined together, it represents their first time together. Then the couple starts to dance, showing that at this point in their relationship, they are one. They move together, they live their lives together, they love together. You take my breath away.

Next comes the breakup: 

Kurt leaves the dance, just like how he left Blaine. You can see the sadness in his face just like when he found out Blaine cheated on him. 

This shot shows Blaine’s devastation, his regret. Also notice how snow snow starts to fall, signifying the storm of their break-up. I’m so sorry, Kurt. 

Next:

Now we see Blaine running after Kurt which represents his chase to get him back.

Blaine is reaching out to Kurt, just like how he was trying to contact him after the break-up, but Kurt remains with his back turned, showing his anger and mistrust he had of Blaine. Relationships are about trust. And I don’t trust you anymore.

Next:

Now Kurt turns around and sings “But I love you” representing exactly that. That he still loves him. And Blaine joins him on the platform, showing that he still, of course, loves Kurt too. This part represents the Valentine’s Day when they got back together for one time, solidifying that they are meant to be together. And we are going to be together for many many more.

Next:

This part is actually one of my favorite parts of the performance. The fact that Blaine is hiding himself a bit away from Kurt behind the curtain shows how he is going to give Kurt the space he needs to figure things out. Despite how much it pains Blaine to be away from him, he’s going to let Kurt come to him when he’s ready. You are the love of my life, Kurt.

Next:

Now we see both of them singing the final chorus of the song. Their eyes are locked on each other, their bodies face each other. They know that they love each other. They know that they are meant to be. The climax is building. No one can touch us. Or what we have. 

Next:

And now we see them come back together. They come at the same time, too. showing that when they do get back together, it will be because of a mutual understanding that it is the right time. I love you so much, Kurt. I love you too. 

Next:

Then Kurt touches Blaine first, and this shows how he will eventually trust Blaine again. He will forgive him. I’m never saying goodbye to you.

And finally:

Eternity.

Congratulations to our Foreword INDIES Nominees!

Interlude Press and Duet Books titles were nominated for six Foreword INDIES Book of the Year Awards today!

Congratulations to each of the authors for the following nominations: Naomi Tajedler for Concerto in Chroma Major (LGBT and Romance categories); Jude Sierra for A Tiny Piece of Something Greater (Romance); Jilted by Lilah Suzanne (Romance); Tom Willinsky and Jen Sternick for Snowsisters (LGBT); and Mia Kerick for The Weekend Bucket List (Young Adult).

More than 2,000 entries spread across 56 genres were submitted for consideration for Foreword Magazine’s INDIES Book of the Year Awards. The list of finalists was determined by Foreword’s editorial team. Winners will be determined by a panel of librarian and bookseller judges from across the country.

Foreword exclusively covers university and independent (non “Big 5”) publishers, the books they publish, and their authors.