Little Claws of DangerHello! I'm Alysa. Nice to meet you. :)
"Brienne’s story is an adaptation of a traditionally male narrative, one that usually sidelines or victimises female characters. She swears fealty to a woman, as male knights swear to their liege lord, because she respects that woman’s strength, her bravery and her kindness. She goes on a quest to save the beautiful maiden, but not to marry her or benefit from the quest in any way, but to return her to her mother. Because she cares for Catelyn, and because it is the right thing to do. It is a story of a woman, rescuing a woman, for the sake of another woman. It is a rare story where the mother, the young girl and the shieldmaiden are all given equal weight and worth. Brienne, despite taking on many stereotypically male traits, is not “one of the boys” or in any way dismissive of her gender as a group. She does not fit into the role that society has assigned for her, but she does not disparage those who do. She uses her strength and her skill to respect and help other women in ways that most men in Westeros would never even think to attempt, because she understands, more than any other knight, that women are truly worth something as individuals."
"There are some themes, some subjects, too large for adult fiction; they can only be dealt with adequately in a children’s book.
The reason for that is that in adult literary fiction, stories are there on sufferance. Other things are felt to be more important: technique, style, literary knowingness. Adult writers who deal in straightforward stories find themselves sidelined into a genre such as crime or science fiction, where no one expects literary craftsmanship.
But stories are vital. Stories never fail us because, as Isaac Bashevis Singer says, “events never grow stale.” There’s more wisdom in a story than in volumes of philosophy. And by a story I mean not only Little Red Riding Hood and Cinderella and Jack and the Beanstalk but also the great novels of the nineteenth century, Jane Eyre, Middlemarch, Bleak House and many others: novels where the story is at the center of the writer’s attention, where the plot actually matters. The present-day would-be George Eliots take up their stories as if with a pair of tongs. They’re embarrassed by them. If they could write novels without stories in them, they would. Sometimes they do.
But what characterizes the best of children’s authors is that they’re not embarrassed to tell stories. They know how important stories are, and they know, too, that if you start telling a story you’ve got to carry on till you get to the end. And you can’t provide two ends, either, and invite the reader to choose between them. Or as in a highly praised recent adult novel I’m about to stop reading, three different beginnings. In a book for children you can’t put the plot on hold while you cut artistic capers for the amusement of your sophisticated readers, because, thank God, your readers are not sophisticated. They’ve got more important things in mind than your dazzling skill with wordplay. They want to know what happens next."
"People will kill you over time, and how they’ll kill you is with tiny, harmless phrases, like: ‘be realistic.’"
"We have no problem in this country rewarding individuals of color momentarily as a way never to address structural cannibalistic inequalities that are faced by the communities these people come out of. …I am representative of a structural exclusion that room is made for “ones” so that room does not have to be made for the “manies”."
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