alixtii: Dawn Summers, w/ books and candles. Image from when Michelle hosted that ghost show. Text: "Dawn Summers / High Watcher. (Dawn)
Four years ago on this date, I created my LJ.

For some of the greatest hits of the Tradëscan Codex, see last year's LJ-versary post. For a comprehensive fannish biography of Alixtii O'Krul V, see my Fanlore user page.

For four years, this LJ has been an integral part of my life. Some of you I've even known longer than that, whether from the time I was reading LJ before creating a journal of my own, from the time I spent at or the City of Angel boards, or offline in high school or college. ([ profile] ladyphoenixmage still wins the award, though, since I've known her over half my life.) I love you all and I thank you sincerely for bringing me so much porn joy these last four years. Here's for another four and beyond, whether here on LJ or on some other vehicle.

I do plan on getting a Dreamwidth account at the end of the month. This promises to be a time of heavy turmoil for me in my personal life, though, so I'm not sure how I'm going to use it. If I have the time, I'd like to create a filter on LJ for mutually friended friends who haven't navigated over so I can still read flocked posts, then read everyone else from over there while crossposting. But I might be forced to stay put out of necessity.

I've been spending some time lately re-reading some of the great chaptered fics I've encountered during my time in fandom, so I'm going to use this space for recs. These are all at least moderately long, plotty, and fun, with healthy helpings of the will-to-power. Some are pulpish with occasional lapses into OOC-ness; others really are deathless prose. They all always reward a re-read for me, though, so I thought I'd share the list as part of the anniversary celebrations. A lot of these count as classics, or at least should, but it's possible that not everybody knows about all of them.

the list )

Today's also Good Friday, so here's a link to my Good Friday ficlet "Mystery." And here's the audiofic version.
alixtii: Kitty and Emma un/dressing. From AXM, "Gifted." (femslash)
So there's been this version of "Cliff, Shag, Marry" going around with surprisingly complicated rules:

1. Comment and I will give you the names of 3 fictional characters or celebrities.
2. Post this meme with your answers.
3. Provide pictures and the names of the three people.
4. Label which you would marry, shag, or cliff.

I got three lists of names, one list each from [ profile] maechi, [ profile] kindkit, and [ profile] netgirl_y2k.

ROUND ONE: Summer Glau, Dawn Summers, and Joss Whedon )

ROUND TWO: Emma Frost, Buffy Summers, Hermione Granger )

ROUND THREE: Dawn Summers, River Tam, Lucy Saxon  )

Comment if you want me to do you. Alternately, if you just want to play regular Cliff/Shag/Marry, leave the names of three characters.

Random Quiz )
alixtii: Fred Burkle, wearing glasses, holding a book, and looking sort of shy. Text: "Desire." (desire)
Since we're all (well, most) writers here, I'm assuming we're all familiar with at least the basic idea behind the following chart:

A little googling informs this diagram is actually known as Freytag's triangle, after some guy named--wait for it--Gustav Freytag. (Who knew?)

Now, even in Greek and Elizabethan drama the denouement and conclusion put together add up to less stage time than the rising action (during which one sends one's heroes up a tree and throws stones at them, the old writer's adage goes), so that in Shakespeare it usually shows up late in Act Three, and in a Victorian three-act play it's late in Act Two. But the impulse in modern storytelling has been to abbreviate the denouement. And, you know, I'm down with that. When I'm watching Return of the King and the denoument kind of drags on, I get antsy along with everybody else.

But in some forms of storytelling--most noticeably movies and Marion Zimmer Bradley novels--the denoument has all but disappeared. And this makes me sad because, you know, I like denouements.

A denouement is, essentially, curtain!fic. (In case you're not familiar with the term, this is fanfiction in which a happy couple is shown being happy, doing something cheerfully domestic like picking out curtains.) It's the mostly inevitable consequences of the climax (if they're not mostly inevitable we haven't truly hit the climax) working themselves out, so if the story has a happy ending, this is where the characters get to be happy. Cinderella wins over the prince, so there's a big wedding and the wicked stepsisters get their eyes poked out. Only . . . compare the amount of time the wedding gets in the Disney movie to the original text version (most any version, but I'm thinking of the French one).

The denouement is the part which is almost certainly guaranteed to start me bawling. I think I get jealous.

What separates a denouement from curtain!fic is that a denouement is earned in a way that curtain!fic isn't. In a sense, all of that rising action is there in order to earn its denouement--so when we see our heroes buying curtains, it's a reward, because we know all the stuff that had to be gone through to get there. And insofar as curtain!fic works as a fanfiction genre (and I do think it can work) it's because we have all the rising action of the source text in the back of our minds when we read it.

Insofar as curtain!fic doesn't work, though (and let's face it, it's not an uncommon occurrence), it's because the lack of conflict and rising action just renders the entire piece boring, pointless, and uninteresting. So one has to strike a balance. And the balance that might have worked for Greek or Elizabethan (or Roman or Jacobite or Persian or whatever) drama might not work for contemporary Western audiences or readers. So when I write, I try to strike that balance. Movies in particular need short denouements (see the RotK comment above), so in my only original screenplay, which bends genres far too much to ever be produced but of which I am nonetheless quite proud (if frustrated at how it won't let me turn it into a novel) the denouement takes up a couple of pages, max.

But there are movies that literally have the climax (our heroes win!), maybe one or two reaction shots, and roll the credits. If the romantic subplot, the hero kisses the heroine and she doesn't seem to slap him afterwards (but the camera cuts away before we get to see afterwards anyway). Indeed, this seems to happen so often today in film it's become the rule rather than the exception. I sit excitedly on the edge of my seat for two hours waiting excitedly as the tension builds--only to find I end up with about twenty seconds of pay-off if I'm lucky. This is my most common criticism of the films I see.

Book readers are, I think, more willing to enjoy a longer denouement, which is why the Return of the King ending works better in its original form than on the screen. Readers are more willing to sit around with the characters and watch them work out the consequences of the climax then moviegoers, so in my BtVS novella Divine Interventions the climax comes at the end of Chapter Fourteen--and then Chapter Fifteen addresses the fallout of that climax in plot-oriented terms (what do we do with the captured bad guys?) and Chapter Sixteen more in character-oriented terms (I've just saved the world, now walk through my existential crisis). And there's an epilogue, which sort of looks to the future of that 'verse. I'm very satisfied with the job of pacing I've done in that work.

[There is something to be said about Harry Potter and its epilogue here, but I just finished the Half-Blood Prince audiobook after having only read the first book and watched all the movies up to this point, so I'm not exactly qualified to say it. But HBP did have several chapters of denouement--"The Pheonix Lament" and "The White Tomb," and arguably "The Flight of the Prince" as well--that I expect to largely be cut from the movie.] [Also, I've just discovered [ profile] hbpspork. Hee!]

But because books are more likely to have, if not as lengthy denouement as I'd like, at least one which has some substance, I end up particularly frustrated with the MZB-type book endings I mentioned above. I think these are still the exception, but because my expectation is that the payoff will be there it's all the more disappointing when it isn't. (And you'd think I'd have have figured out by now that MZB consistently does this, but even when I re-read her books I just get disappointed all over again.) 

It comes down to, if I've spent ninety minutes or two hundred something pages watching these characters suffer and remained interested, become invested in them, is it really too much to ask to have more than a couple of pages or a few reaction shots of them being happy?

I'd find it likely that other fanfic readers might, like me, prefer longer denouements, although honestly I find it difficult to see how anyone at all can find the "rising action then cut to credits" type structure in any way satisfying. But I think my curtain!fic comments above point to the fact that one of the things fanfic does--not the only thing by any means, of course, but I do think one of the primary things--is to extend and draw out the denouements we get in the source text, and put some meat on their bones when they're looking anemic. (I think I may have just mixed a metaphor?) We'll insert our own conflict and rising action, of course, at least in plotty fics, but I think that tends to be less the point of it, and as readers we're more likely to let a fic sort of ramble on, because we love the characters and more than anything else just want to watch them existing in their native habitat.

Which means maybe I shouldn't have cut Divine Interventions quite so short. Hmm. Food for thought. . . .
alixtii: Veronica and Mac. Text: "Girlfriends Actually." (Veronica Mars)
My main reaction to the Emma Frost digests (besides wondering how much is intertextual with established canon and how much is made up out of the blue) is to want to sort Emma, like in Harry Potter. I'm thinking 60% Ravenclaw and 40% Slytherin? Or should there be a fraction of Gryffindor in there, too? Maybe 15% Gryffindor, 35% Slytherin, and 50%  Ravenclaw.

Actually, Emma might be much more Hufflepuff than she is Gryffindor, even, especially with the whole spoilers for TORN ) plan. She seems to have a pattern of entrusting others with her moral direction.
alixtii: Veronica and Mac. Text: "Girlfriends Actually." (Veronica Mars)
[ profile] inlovewithnight linked to this article, "Harry Potter and the Framers' Intent," which discusses the way one should respond to JKR on Dumbledore's sexuality in relation to various theories of constitutional law. I used the same exact parallel in the comments of this post, actually, to discuss my position on authorial intent. What the article writer fails to emphasize sufficiently, however, (because he is too interested in selling his position on consitutional law, one I agree with) is that one doesn't have to go all the way to the place he goes wrt constitutional law to get to the rejection of JRK's authority. Even the position of a conservative originalist/textualist like Scalia would be enough to transfer the interpretative authority from JKR as author to the world as readers (which includes JKR, but also millions if not billions of others); the question of whether posterity should approach the text with the same interpretative conditions that we do is a question that can be saved for, well, posterity.

Scalia writes:
Two persons who speak only English see sculpted in the desert sand the words “LEAVE HERE OR DIE.” It may well be that the words were the fortuitous effect of wind, but the message they convey is clear, and I think our subjects would not gamble on the fortuity.

[. . .] As my desert example demonstrates, symbols (such as words) can convey meaning even if there is no intelligent author at all. If the ringing of an alarm bell has been established, in a particular building, as the conventional signal that the building must be evacuated, it will convey that meaning if it is activated by a monkey. And to a society in which the conventional means of communication is sixteenth-century English, The Merchant of Venice will be The Merchant of Venice even if it has been typed accidentally by a thousand monkeys randomly striking keys.

[. . .]

What is needed for a symbol to convey meaning is not an intelligent author, but a conventional understanding on the part of the readers or hearers that certain signs or certain sounds represent certain concepts.
And remember: this is the conservative position; the liberals would agree with it, and go even further (to the claim that meaning is even more manipulatable than Scalia would accept--but still not authorized by the [living, breathing, historical-biographical] author, but by a reader-constructed author-function).
alixtii: Summer pulling off the strap to her dress, in a very glitzy and model-y image. (River)

Title: Incurable (The "All You Zombies" Remix)
Author: [ profile] alixtii
Summary: She knows there is only one person who can find, and save, her.
Fandoms: Buffy the Vampire Slayer/Firefly/Harry Potter
Pairings: Minerva McGonagall/Rupert Giles/River Tam, Winifred Burkle/Kaywinnit Lee Frye
Rating: Work Safe
Original story: Incurable by Ari (!!).

il miglior fabbro.

Incurable (The "All You Zombies" Remix) )


Jan. 20th, 2007 10:03 pm
alixtii: Mac and Cassidy. Text: "*squee!* (Cindy Mackenzie)
My brother and I have been, since Christmas, sharng a Netflix account.


Battlestar Galactica (The Miniseries, and Season 1 Disc 1)

Very slow-paced, and alternating between bits which are extremely will-to-powery (Roslin!) and those which aren't. Mostly, I've spent most of the time lusting after Specialist Cally. I mean, seriously.

Specialist Cally picspam )

Will definitely keep watching, if only for Specialist Cally. ETA: And BSG is totally Harry Potter in space.


Big Love (Season 1 Disc 1)

It's like a freaky Veronica Mars AU. Not really my thing, although of course Tina Majorino is teh awesome, but there's enough to keep me interested.


Arrested Developement (Season 1 Discs 1+2)

A wonderful tale about a boy in love with his cousin. Wait, what do you mean there are other plotlines?


The DaVinci Code

Better movie than for which it seemed to be given credit. Audrey Tatou's and Ian McKellan's performances were of course excellent. Taking anything out of a Dan Brown novel seriously is a little silly, but I respect the intent. The foolishness from Holy Blood, Holy Grail--which in the novel never struck me as anything more than a convenient McGuffin--was certainly taken far too seriously. And the vibes of anti-Catholicism I never got from the book did suddenly seem to be present. Still, I mostly liked it.


Over the Hedge

William Shatner and Avril Lavigne make the most adorablest father/daughter pair ever. Maybe even more than Keith/Veronica.
alixtii: Peter and Susan, in extreme close-up. (incest)
Consider some texts, all of which count as fannish on my flist (if nowhere else):
  • Veronica Mars: A sixteen-year-old girl defies parental authority in many ways including, but not limited to, having sexual relations with three different individuals. (Admittedly this behavior led to her death, but the show consistently portrayed Lilly Kane in a mostly positive light.) After her death, her best friend defies parental and civil authorities by engaging in a series of investigations bringing many things to light. Ultimately, these authorities learn that the best course of action is to let Veronica run her course: upon finding his daughter in a coat closet, Keith remarks, "Yep, that's mine," and upon her graduation Van Clemens admits that he doesn't know if her absence will make his life easier or harder.
  • Matilda: A six-year-old (in bookverse) girl defies parental authority by playing a series of practical jokes on her parents and, when they are forced to flee the country, convincing them to sign over guardianship to a Miss Jennifer Honey, with whom in movieverse Matilda has a relationship of equals.
  • The Secret Garden: Defying the parental authority of her uncle and guardian Archibald Craven, as well as his surrogates Mrs. Medlock and Dr. Craven, Mary Lennox enters a forbidden girl garden and carries on a secret relationship with her cousin Colin, effecting his cure in the process.
  • A Little Princess: Even before Sarah Crewe is forced to withstand the authority of Miss Minchin, the text takes pains to underscore the girl's adult nature and the egalitarian character of her relationship with her father, who treats her as a miniature adult. It also uses the word "queer" a lot.
  • The Chronicles of Narnia: Four children defy the authority of the parental surrogates by hiding in a wardrobe, where they wage a war against the evil witch Jadis and save a magical world, becoming Kings and Queens in the process.
  • The Parent Trap: Two twin eleven-year-old girls defy parental authority by secretly switching places and living each others' lives. In the process, they manipulate their parents into meeting and falling in love again.
  • As You Like It: Two cousins defy parental and civil authority when they enter the forest to escape the rule of the evil Duke Frederick.
  • Harry Potter: Not that I've ever read the books, but a twelve-year-old boy defies the parental authority of his aunt and uncle by becoming a wizard. At the school of wizardry, three children operate outside of the school authority, continually disobeying the explicit directives of their professors, and in the process triumph again and again, presumably culminating in the defeat of the Dark Lord. While what the professors were thinking is debated, one theory is that it was their plan from the beginning to let these children run loose, recognizing they would be able to succeed where adults would fail. In any event, the disobedience of these children is celebrated by the professors as the children win the House Cup year after year.
  • Robert A. Heinlein: Where to begin? From Podkayne to Peewee to Laz and Lor, this is a multiverse chock full of supercompetent teenagers who either operate outside the bounds of, or are forced to defy, parental authority.
  • Buffy the Vampire Slayer: Another case of "Do I really need to say anything here?"
All of these texts act out a specific type of wish-fulfillment fantasy: the usurpation of parental authority by a child who is revealed to be more intellectually mature than her adult counterparts. It is a fantasy that pings powerfully for me (as well as many others), even now that I am no longer quite a teenager. It is an especially potent expression of the will to power, being beyond all authorities because one is just that good, ubermensch.

It is no coincidence that Sunnydale and Neptune each has one good parent, Joyce Summers and Keith Mars respectively. (Actually Neptune, while including a huge number of bad parents, isn't quite so bad as Sunnydale. Both Wallace and Jackie have parents who all, in the whole, good parents, and the Mackenzies and Sinclairs are not really bad parents despite their inability to meaningfully engage their respective [adopted] daughters.) Parents in this type of fantasy are like governments: King Log is to be preferred to King Stork, and the parent who parents least parents best.

This is the context in which fictional incest thrives. While "in the real world" (how I loathe that phrase!) incest, cross-gen, and mentor/teacher relationships all are problematic due to issues of consent, these difficulties disappear in the face of the radically autonomous children of the adolescent fantasy. Of course Lilly, Veronica, Matilda, Mary, Sara, Susan, Annie, Hallie, Rosalind, Celia, Hermione, Podkayne, Peewee, Laz, Lor, Dawn, and all the rest are capable of consent--the very nature of the fantastic world in which they exist assures they are capable of anything.

Keith/Veronica, Matilda/Jenny, Mary/Neville, Crewecest, Peter/Susan, Annie/Hallie, Rosalind/Celia, Hermione/McGonagall, Laz/Lor, Dawn/Giles: these are not pairings that Ari and I invented in our minds. For me (I won't speak for anyone else), the sexualization of these relationships is a response to--and a reaffirmation of--the fantastic element which attracted me to these texts in the first place: the radical autonomy of the pre/teen characters.


And I really should finish that "Buffy as Nietzschean Ubermensch" essay.
alixtii: Fred Burkle, wearing glasses, holding a book, and looking sort of shy. Text: "Desire." (desire)
picspam with a theme! )

Look, ma, I can crop! )

Should Summer Glau ever be photographed in a pair of spectacles, the world would explode from the sheer amount of guh.
alixtii: Summer pulling off the strap to her dress, in a very glitzy and model-y image. (River)
At least I'm not the only one struggling with these philosophical questions.

Seriously, I seem to not be able to decide whether I want to be a pragmatist or not. Foundationalism has always struck me as anti-feminist, but relativism can't support feminism either. Ideally pragmatism provides a way out of the dilemma, with feminism being more or less the equivalent of "weaponized kissing," but is it really any better than relativism at making normative claims? *is torn*

ETA: Maia at Capitalism Bad, Tree Pretty has posted about serial storytelling, lamenting that one can't find it much outside television any more and giving it the credit for the popularity of the Harry Potter series. She says a lot of intelligent things, and of course pretty much everything she says is twice as applicable to fanfiction. For example:
at the end of the Prom on Buffy - where Jonathon gives her the umbrella, and Angel comes and dances with her. Those moments work because you know what she's been through the last three years - you know what this means, you know who Jonathon is (although not what he will be - but telvision shows turning to custard is not the current topic).
Or this:
The other thing I love about serial storytelling is that it is a very social art-form from the viewing end. Part of the whole episodic nature means that you share it with other people - you talk about it with other people, because you're waiting for what is going to happen next.
Of course the serial nature of fanfiction is one of its characteristics that gets at least as much criticism as love: who hasn't heard someone ranting against WIPs, or wondering why someone would post an already-completed story in installments (as I did with, say, Divine Interventions).

ETA2: "Catholicism: Maybe Think About It?"

ETA3: I really love it when my favorite academic blog ([ profile] languagelog) cites Television Without Pity.

ETA4: Speaking of [ profile] languagelog, Arnold Zwicky has a post entitled "Goram Motherfrakking!" on fake and made-up curses in science fiction, with a focus on Battlestar Galactica and Firefly.
alixtii: Player from <i>Where on Earth Is Carmen Sandiego?</i> playing the game. (Default)
Title: Soldiers in Disguise
Fandom: Harry Potter (Yes, you read that right.)
Pairing: Hermione/Snape
Rating: G
Word Count: 307
Summary: Alternate universe. For [ profile] bethbethbeth's The Snape-a-rama Instant-AU Challenge. The request? "Snape: a soldier recovering from shell shock. Hermione: a young nurse confronting the dangers of war. 1917, the battlefields of France -- is this any time for love?"

Soldiers in Disguise )

I almost feel tempted to continue this, but I really should actually, you know, read the books then, shouldn't I?
alixtii: Fred Burkle, wearing glasses, holding a book, and looking sort of shy. Text: "Desire." (desire)
This was recced to me by [ profile] hjcallipygian, and now I'm reccing it to you: Harry Potter and the Eagle of Truthiness is a Harry Potter/Colbert Report crossover which perfectly captures Stephen Colbert's persona, complete with "The Wørd" as it transfers it to a Hogwarts DADA classroom.

And so I ask you: Albus Dumbledore, great Headmaster? Or the greatest Headmaster?

[Also, GIP.]
alixtii: Player from <i>Where on Earth Is Carmen Sandiego?</i> playing the game. (Default)
All three of these are Harry Potter, oddly enough.

Another Way Through Time (Time After Time Remix) is a Harry/Draco fic. Yes, the Remix has gotten me to read fics I would never have read under normal circumstances. I haven't read many stories from Draco's POV, so I can't make comparisons, but I have to say that I found the voice effectively written and Draco's arc structured the remix nicely, as he comes to terms with his defection to the side of good.

Not Quite the End of the World (The Change to Color Remix) is Harry/Ron/Hermione, with a Ron POV which is thoughtful and world-weary. The remixer goes the introspective route, giving us a lot of musings about chess and whatnot, then seamlessly segues into the smut.

I adored [ profile] netgirl_y2k's 20 Random Facts about Ginny Weasley when I first read. Like all the best remixes, Five Memories of Ginny Weasley (The Two In One Remix) is completely different. The remixer really gets us into Ginny's head, providing us with a look at a girl who is at once brave and innocent.
alixtii: Mal and Kaylee, from Serenity the Movie. Text: "I Love My Captain." (Mal/Kaylee)
There are remixes of some really wonderful fics in the new Remix round. And that's a real challenge in that even if one produces a well-written story, next to a work of genius it'll be nothing more than a pale imitation. (I'll admit it; I've mostly only read remixes of authors I know so far. I don't have a lot of free time to read stories I know nothing about.) But some managed to pull it off, not telling the same story but using the same events (more or less) to tell a completely new and different story. These remixes are brilliant and amazing in completely different ways than their originals are brilliant and amazing.

First, there's a remix--The Past is a Different Country (The Jumping Off Mix)--of [ profile] nwhepcat's glorious Xander/Dawn piece Indelible. Indelible is about the slow development of Xander and Dawn's relationship as Oz returns to Sunnydale post-"Chosen." It's long (although not that long) and plotty, and just delightful. [ETA: I just re-read it, and oh, how I love that fic.]

"The Past is a Different Country" isn't about that at all (although it's also delightful). Instead, it focuses on Oz as he comes to terms with friends who live in a world he doesn't remember. It's not the same story told from a different perspective, like most remixes: it's a whole new story, with different themes and narrative arcs, based on the same events. It's shorter, focused more on the immediacy of Oz's experience in individual moments, and more lyrical, playing with both time and language.

Secondly, there's a remix--The Ballad of Charles Whitman (Apocalypse Remix)--of [ profile] liz_marcs' early Xander fic Revelations. "Revelations" is a rich fic in which a variety of perspectives view a variety of very emotional and powerful scenes spanning a relatively short amount of time (about a day?). Liz is able to capture all the characters so perfectly, and presents some truly beautiful Buffy/Xander and Xander/Faith dynamics.

Unlike starting in media res as Liz does, the remix begins with the events of "Grave" and traces the AU from there, presenting us with the series of events in linear, chronological order, constructing from them a more traditional narrative structure as Xander undergoes a new character arc. The story is told tightly from his pooint of view, and in short the story succeeds (with flying colors) because it never tries to compete with Liz's tale; instead, it does it own completely different thing using the same events.

Another remix of which I'm fond is Learning To Fly (Is Like Falling remix), a remix of [ profile] danawoods' fic Symbiosis. The remix is Mal/Kaylee, so it shouldn't be any surprise I love it, but I think the remix really captures the sense of longing (not all of it sexual) which fills Serenity and has a great grasp of the characters as they try to continue their lives after the movie.

Apparition No. 12 (The Scientific Method Remix) begins with Hermione and Ginny holding hands, and from that moment I was in for the ride. Okay, it's Remus/Sirius, not femslash, but the Hermione voice is a treat as she views the relationship from outside, and gets her own character arc which structures the remix.

Gravity (Fallen Apple Remix). I didn't quite understand what was happening until I read the original (Gravity by [ profile] penknife), but the choice of viewpoint character is inspired and the Rogue/Magneto dynamic is wonderfully entertaining as they both bring on the snark.

Okay, I need to go now, but I'll leave more recs whenever I get to read more stories worth reccing.
alixtii: Drusilla holding a knife to Angel's throat. Text: "Got Freud?" (Freud)
After I accidentally deleted my open windows at skip=525, I worked my way back through my flist, reopening the windows, and IE crashed at skip=475. At that point, I gave up, and I'm just going to rely on newsletters to catch up. If anything interested, don't be afraid to drop a link in the comments.

Speaking of which, meta on reading texts, detective novels, Veronica Mars, and of course the will-to-power ).

I hope to do some longer and more sustained meta later, particularly a craft-of-writing on how we structure fic and how only a subset of fics are strictly speaking "stories," but as my life is going at the moment that "later" promises to be very long from now.

Okay, back to watching the Lindsay Lohan Parent Trap on ABC Family. I really love this film, but a Londoner likes to eat her Oreos with peanut butter? WTF?

Where is the Annie/Hallie twincest?
alixtii: Drusilla holding a knife to Angel's throat. Text: "Got Freud?" (Freud)
I wrote yesterday that there’s a difference between the way fanficcers and fundamentalists approach their texts, with fundamentalists wanting the “right” interpretation with fanficcers only wanting the “best” interpretation. It doesn’t matter if the most reasonable interpretation of the Bible is that the Rapture is in two hundred years if God actually meant that it would start in an hour, and thus it is going to start in a hour. In a sense, fundamentalists still privilege authorial intent (it doesn't matter what God wrote as much as what God meant), and fanficcers don’t always do that (thank God).

Then it occurred to me that there are fanficcers for whom it is meaningful to speak of a difference between a “best” interpretation and the “right” one—those in an open canon. If one sees the entire source text as describing the same popsssible world, even when some of it isn’t written yet, then it’s true that the best interpretation of a part of the canon won’t always be “right.” Seen in this light, those fundamentalist Christians who make a reasonable conclusion about what Scripture means but are ultimately wrong can be sort of seen as being jossed by God.

This is of course why there’s an impetus to privilege authorial intent in an open canon like Harry Potter—it’s the best reliable indicator of what new canon will bring. Equally coherent interpretations of the same canon are only equal so long as no new canon is coming. It’s also why I’d be glad that I write in a closed canon if it weren’t for the fact that I so badly want to see Juliet Landau and Summer Glau to play their characters once again.

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