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A Darkness at the...
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by Ruth Frances Long (Goodreads Author)
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Worst Wingman Ever
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by Abby Jimenez (Goodreads Author)
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May Sarton
“My anger, because I am old, is considered a sign of madness or senility. Is this not cruel? Are we to be deprived even of righteous anger? Is even irritability to be treated as a “symptom”? There”
May Sarton, As We Are Now

Sarah J. Maas
“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

“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

“Death may in some traditions be a vivid experience, but within much of the white tradition it is a blank that may be immateriality (pure spirit) or else just nothing at all. This is within the logics of whiteness even if it is not at the forefront of white identity. White people have a colour, but it is a colour that also signifies the absence of colour, itself a characteristic of life and presence. In the transparent representation of the culture of light, the white face has to be read in the blanks on the paper or screen. To be positioned as an over- seeing subject without properties may lead one to wonder if one is a subject at all. If it is spirit not body that makes a person white, then where does this leave the white body which is the vehicle for the reproduction of whiteness, of white power and possession, here on earth?”
Richard Dyer, White: Essays on Race and Culture

“The secularisation and feminine specification of this seems to have been effected through the figure of the woman as angel, enlightened and enlightening. Theologically, angels have no gender, and in the Bible and medieval art they were depicted as male and manly. With the Renaissance, they begin to be depicted either as women or as men with ‘feminine’ traits (Underhill 1995: 56). Verbal and visual imagery of the angelic begins to be applied to idealised, or just simply adored, women. Edmund”
Richard Dyer, White: Essays on Race and Culture

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