we need to slow down a little I'm so serious. all these quick short videos on tiktok, ig reels, and youtube, artists releasing quick little songs for the trend, tv shows releasing episodes at once, people using chat gpt and google ai overview because they get answers quickly but no validation done for the source, we need to sloww downn i really do not think our brains should be running this fast
gamers: we are fed up with companies releasing broken games priced at 70$ with day 1 patches that are about 50GB
also gamers: *pre orders every game they want without hesitation to get an ugly ass outfit*
literally she is so iconic for this like genuinely her brain was massive for this. time and time again she is proven correct
this is what every mental health conversation on this god forsaken website sounds like to me.
Benedetta Cappa (Italian, 1897-1977) - Synthesis of Radio Communications (1933-1934)
Transcription, because it is worth reading:
There’s a phenomenon I actually see extremely commonly when literature is used to teach history to middle school and high school students. Let’s call it “pajamafication.”
So a school district nixed Maus from their curriculum, to be replaced by something more “age-appropriate.” IIRC they didn’t cite a specific replacement title, but it will probably be something like John Boyne’s “The Boy in the Striped Pajamas.”
The Boy in the Striped Pajamas is tailor-made for classroom use. It’s taught at countless schools and it’s squeaky-clean of any of the parent-objectionable material you might find in Maus, Night, or any of the other first-person accounts of the Holocaust.
It’s also a terrible way to teach the Holocaust.
I’m not going to exhaustively enumerate the book’s flaws—others have done so—but I’ll summarize the points that are common to this phenomenon in various contexts.
First, obviously, the context shift. Maus, Night, et al are narrated by actual Jews who were in concentration camps. The Boy in the Striped Pajamas is narrated by a German boy. The Jewish perspective is completely eliminated.
Second, the emphasis on historical innocence. Bruno isn’t antisemitic. He has no idea that anything bad is happening. He happily befriends a Jewish boy with absolutely no prejudice.
Thus we’re reassured that you too, gentle reader, are innocent. You too would have have a childlike lack of prejudice and you too would be such a sweet summer child that you would have no idea the place next door is a death camp.
In Maus, by contrast, the children are not innocent. They are perpetrators of injustice just like adults.
[ID: Picture of part of a page of Maus where children run away yelling “Help! Mommy! A Jew!! - the next panel says “The mothers always told so: ‘Be careful! A Jew will catch you to a bag and eat you!’ …So the taught to their children.”]
Maus also smashes the claim that people just didn’t know what was going on in the camps.
[ID: Picture of part of a page of Maus where a Nazi truck is arriving at Auschwitz guarded by men with sticks and a pointing, growling dog, the boxes say “And we came here to the concentration camp Auschwitz. And we knew that from here we will not come out anymore…” “We knew the stories that they will gas us and throw in the oves. This was 1944… we knew everything. And here we were.”]
Third, nonspecificity. The Boy in the Striped Pajamas turns a specific historical atrocity into a parable about all forms of bigotry and injustice. I’m sure Boyne thinks he’s being very profound. But the actual effect is to blunt and erase the atrocity.
There’s the too-cute-by-half way it avoids terminology: “Off-With,” “the Fury.” Harsh language becomes “He said a nasty word.”
Notice how “it’s a fable” ties in with the goal of eliminating anything parents might object to.
And that’s our fourth point. Bad things can happen, but only abstractly. Someone’s dad disappears. He’s just…gone. How? Who knows. People stand around looking hungry and unhappy and saying “It’s not very nice in here.”
The ending is sad, but it’s sad like a Lifetime movie. It’s sanitized, it’s quick, there are no details, it’s meant to poke that bit of your heart that loves crying.
Maus’s description of the gas chambers, meanwhile…
[ID: Picture of part of a page of Maus where the process of gassing and then taking out the bodies are described in detail as inmates are working. That it took 3 to 30 minutes to gas people. That the largest pile of bodies was by the door. The worker telling the story mentions “We pulled the bodies apart with hooks. Big piles, with the strongest on top, older ones and babies crushed below… often the skulls were smashed…” “Their fingers were broken from trying to climb up the walls… and sometimes their arms were wera as long as their bodies, pulled from the sockets.” Until the narrator says, “Enough!” “I didn’t want to more to hear, but anyway he told me.”]
A historical atrocity can never be a metaphor for all bigotry because the specifics are what makes it an atrocity. The Nazis didn’t just do “bad things, generally,” they did THESE things. And leaving out the details is simply historical erasure.
Finally, fifth: Fiction.
However much poor little Bruno and Schmuel might rend your heartstrings, you can ultimately retreat into the knowledge that they aren’t real and they didn’t really die.
Now, I write historical fiction, and obviously I believe it has a place, in the classroom and out. But no Holocaust education can be complete without nonfiction that teaches about real people who genuinely did experience it.
One of the striking things about Maus is how big the cast is and how few of them survived.
[ID: Picture of part of a page of Maus where one character describes to another many other people who didn’t make it. Eventually covered over in lower panels by pictures of the dead.]
Because it’s a true story, Maus can also explore neglected aspects like the intergenerational trauma, which simply vanish in a pat fictional story that is just finished when you get to the end.
[ID: Picture of part of a page of Maus where the illustrator sits at the drawing desk above the pile of bodies. The artist says: “At least fifteen foreing editions are coming out. I’ve got 4 serious offers to turn my book into a TV special or movie. (I don’t wanna.) In May 1968 my mother killd herself. (She left no note.) Late’y I’ve been feeling depressed.” Someone calls from out of panel, “Alright Mr. Spiegelman… We’re ready to shoot!…”]
Thus, books like The Boy in the Striped Pajamas are not an age-appropriate equivalent way to teach the Holocaust, but a false construction of history.
This ends the first part of the thread. But there’s more…
The Maus incident is not an isolated case. It’s part of a broad trend of replacing the literature used to teach history with more kid-friendly, “appropriate” alternatives.
And outside of the Holocaust, it usually doesn’t meet with much controversy.
It might mean replacing Narrative of the Life of Frederick Douglass, an American Slave or Solomon Northup’s Twelve Years a Slave with modern historical fiction, for example.
Wars, the Civil Rights movement, Apartheid: any “icky” part of history can be a target.
But it plays out along the same general lines: Primary sources replaced with modern fiction, victim perspectives replaced with perpetrators, specificity replaced with Star-Bellied Sneetch-style “Why can’t we all just get along?” metaphors.
the new dj crazytimes song … now that’s what I call music!
did i ever tell yall about the time im like 90% sure i saw The Sord tatted on someone in porn. like i couldnt stop staring at it i was entirely watching the video to get a better view of the tattoo to make sure i wasnt losing my mind
like am i crazy. thats sord right. thats sord in my lesbian porno
thats sord in your lesbian porno
Look I know we're contrarians here and it's fun to sneer at trends but don't let your contempt for the dubai chocolate fad keep you from trying pistacio cream. It's like if nutella didn't suck.
do straight people know that they can get divorced..?
conservatives are so afraid of being queer that they’d rather suffer through being married and hating their partner, like the amount of “I hate my wife/husband” jokes they make among their friends and in public and everyone just laughs it off? YOU’RE A VICTIM!
“he’s the most insufferable person on the planet“ “He thinks the same about me” FREE YOURSELVES
what in the
"Was this book good or was I deeply 19 when I read it:" an investigative journalism series
“Was this book bad or was I simply lacking enough life experience to appreciate the narrative when I read it” : an award-winning followup
Everyone stop treating the upper classes as the default historically and start caring more about the lower classes and the workers of the past who kept the romanticised upper class world functional NOWWWWWWWWWW
sorry for [remembering a tumblr post about expressing gratitude instead of apologising to make the interaction more positive for the other person] i mean thank you for having a boyfriend who was so easy to run over withmy car and reverse over three times maybe four
Dr. Alan Hart, a trans man from the USA who pioneered the use of X-ray photography in tuberculosis detection (saving countless lives according to researchers), was "reclaimed" by the lesbian community after his death in 1962, which means he was deadnamed and described as "a women loving woman who had to transition because at the time transsexualism was a quick medicine against sexism and homophobia" by numerous gay and lesbian associations and activists (including Jonathan Ned Katz whom I just quoted and who received many awards for his contributions to... I don't know, transphobia against trans men I guess), even though his widow always expressed how offensive it was to both her and her husband to refer to them as lesbians.
Hart was on testosterone, legally changed his name, and had gotten a hysterectomy (that was described as "unfortunate" by the Right to Privacy gay and lesbian political action committee), making him the first documented trans man to transition in the USA, yet he was characterized as a lesbian woman because cis gays and lesbians had the nerve (when do they NOT have the nerve, dare I say) to think they had the right to "honor [his] life as a woman" by having fundraiser dinners with his deadname attached to them, having college lectures where they talked about him as a lesbian hero, and using she pronouns for him until 2000. The USAmerican trans community, including trans activist Lou Sullivan, had to fight to defend Hart's identity and to have his manhood recognized by the wider community by protesting these lectures and dinners and having a conversation with the Portland chapter of the Lesbian Avengers association, which ended up having a favorable response and joining the trans community in the battle.
I want to end this by reporting the words of Candice Hellen Brown, a trans woman from Portland who wrote a letter to Just Out magazine in 1994 defending Hart's transness:
The Right to Privacy Political Action Committee in Oregon has a big fundraiser every year that is called the [deadname] Hart Dinner. When asked if I am going, I indignantly answer, "Not until they stop using the wrong name and gender for one of our heroes!" His name is Alan [. . .] He never wavered from his identity as a man, and upon his death, his widow continued to insist that he was a man. Why would such a straight man be called a lesbian by the gay community when today we would certainly call him a female-to-male transsexual? [. . .] He was transsexual or, at least, a transgenderist - a true pioneer. One who is seen as a hero by today's transsexual community. Please don't let him be taken away from us by allowing his old name to be used as though it were a badge of honor.
Think about this story every time the "trans men never contributed to anything in history" discourse resurfaces again. If this can happen to a famous historical figure from the USA and from a relatively recent time who medically transitioned and was explicitly out as a trans man, imagine how many others from other countries, historical periods, and situations have been erased or "reclaimed".
