Dr Katie

“The development of an image of the glowing human being can be traced in European art. One index of it is the means for representing haloes. In medieval art, these are gold, very material, silhouetting the head; since the Renaissance, they have seemed to radiate from the head, in turn suffusing it with a glow. Rudolph”
― Richard Dyer, White: Essays on Race and Culture

“Within Western art the dead white body has often been a sight of veneration, an object of beauty. While Christ on the cross may often be an image of agony, it is also one of beauty, with the suffering itself part of the transcendent beauty. In”
― Richard Dyer, White: Essays on Race and Culture

“Just as the vampires’ whiteness conveys their own deadness, so too their bringing of death is signalled by whiteness – their victims grow pale, the colour leaves their cheeks, life ebbs away. The horror of vampirism is expressed in colour: ghastly white, disgustingly cadaverous, without the blood of life that would give colour. The vampire's bite, so evidently a metaphor for sexuality, is debilitating unto death, just as white people fear sexuality if it is allowed to get out of control (out from under the will) – yet, like the vampire, they need it. The vampire is the white man or woman in the grip of a libidinal need s/he cannot master. In the act of vampirism, white society (the vampire) feeds off itself (his/her victims) and threatens to destroy itself. All”
― Richard Dyer, White: Essays on Race and Culture

“They couldn’t break me because … because they never touched that innermost part of me. They never even guessed. But I hid it … I’ve hidden it because …” She tilted back her head, looking skyward. “Because I live in terror of my family finding out—and shaming me, hurting me about this one thing that has remained wholly mine. This one part of me. I won’t let them … won’t let them destroy it. Or”
― Sarah J. Maas, A Court of Wings and Ruin