Things Heather Made With Her Hands

This is where I will post things that I made with my hands.

DISCLAIMER: this seems to be becoming somewhere I also post things I did not make with my hands. Until I can be arsed to make a new tumblr and divide my labouuur on other blogs, you might also have to stomach some not-made-with-hands things. I'm sorry about that. But I'm sorry about everything so that doesn't count.
~ Tuesday, May 21 ~
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So, which congressman are you sleeping with?
Man at a DC happy hour to a female political reporter (via saidtoladyjournos)

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What people don’t understand is when we say “Teach men not to rape,” we’re not talking about telling them not to jump out of the bushes in a ski mask and grab the nearest female. We’re talking about the way we teach boys that masculinity is measured by power over others, and that they aren’t men unless they “get some.” We’re talking about teaching men (and women) that it’s not okay to laugh at jokes about rape and abuse. We’re talking about telling men that a lack of “No” doesn’t mean “Yes,” that if a woman is too drunk to consent they shouldn’t touch her, that dating someone - or even being married to someone - does not mean automatic consent. We’re talking about teaching boys to pay attention to the girl they’re with, and if she looks uncomfortable to stop and ask if she’s okay, because sometimes girls don’t know how to say stop in a situation like that. We’re talking about how women have the right to change their mind. Even if she’s been saying yes all night, if she says no, that’s it. It’s over. That’s what we mean when we say “Teach men not to rape.
Kalitena on Facebook  (via oldloveinyoungbodies)

(Source: waitforhightide)


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sexular:

u sure

sexular:

u sure


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sexular:

i know

sexular:

i know

(Source: kanyewesticle)


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~ Thursday, May 16 ~
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~ Tuesday, May 14 ~
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zeeblebum:


Legacy of a feminist revolutionary
American radical feminist Shulamith Firestone was a leading theorist of 70s feminism who died a lonely death last summer. Responding to Susan Faludi’s psychological profile of Firestone in The New Yorker last month, Kathleen B. Jones examines Firestone’s contribution to women’s liberation.

Source: http://www.opendemocracy.net/5050/kathleen-b-jones/legacy-of-feminist-revolutionary

zeeblebum:

Legacy of a feminist revolutionary

American radical feminist Shulamith Firestone was a leading theorist of 70s feminism who died a lonely death last summer. Responding to Susan Faludi’s psychological profile of Firestone in The New Yorker last month, Kathleen B. Jones examines Firestone’s contribution to women’s liberation.

Source: http://www.opendemocracy.net/5050/kathleen-b-jones/legacy-of-feminist-revolutionary


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Men and women are misogynistic for different reasons: men to marginalize women, and women to ingratiate themselves with the men trying to marginalize them. Neither one is justifiable, but one is oppressive and the other is a (bad) strategy to deal with that oppression. One thus sees that if the men who are misogynists weren’t, the women who are misogynists wouldn’t have any reason to be. Ergo, exhorting women to stop being misogynists so that men will stop gets it precisely backwards.

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~ Sunday, May 12 ~
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(Source: sexyyuglyy)


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(Source: stannieclark)


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~ Wednesday, May 8 ~
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you and me both, snowy, you and me both.

you and me both, snowy, you and me both.

(Source: stickyembraces)

Tags: lord! the male gaze!
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reblogged via thefeministsocietyatnyu
~ Monday, May 6 ~
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possssibly front cover of book, thoughts?

possssibly front cover of book, thoughts?

Tags: heather mcrobie gpob (gratuitous picture of book)
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Junot Diaz on Men Who Write About Women

  • The Atlantic: It sounds like you're saying that literary "talent" doesn't inoculate a writer—especially a male writer—from making gross, false misjudgments about gender. You'd think being a great writer would give you empathy and the ability to understand people who are unlike you—whether we're talking about gender or another category. But that doesn't seem to be the case.
  • Junot Diaz: I think that unless you are actively, consciously working against the gravitational pull of the culture, you will predictably, thematically, create these sort of fucked-up representations. Without fail. The only way not to do them is to admit to yourself [that] you're fucked up, admit to yourself that you're not good at this shit, and to be conscious in the way that you create these characters. It's so funny what people call inspiration. I have so many young writers who're like, "Well I was inspired. This was my story." And I'm like, "OK. Sir, your inspiration for your stories is like every other male's inspiration for their stories: that the female is only in there to provide sexual service." There comes a time when this mythical inspiration is exposed for doing exactly what it's truthfully doing: to underscore and reinforce cultural structures, or I'd say, cultural asymmetry.

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~ Saturday, May 4 ~
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beetleinabox:


Chaim Soutine, Portrait of a Boy, 1928 (National Gallery of Art, Washington).
Giorgio Agamben writes:

To some extent we all come to terms with Genius, with what resides in us but does not belong to us. Each person’s character is engendered by the way he attempts to turn away from Genius, to flee from him. Genius, to the extent that he has been avoid­ed and left unexpressed, inscribes a grimace on Ego’s face. An author’s style — like the grace displayed by any creature­ — depends less on his genius than on the part of him that is deprived of genius, his character. That is why when we love someone we actually love neither his genius nor his character (and even less his ego) but his special manner of evading both of these poles, his rapid back-and-forth between genius and character.

beetleinabox:

Chaim Soutine, Portrait of a Boy, 1928 (National Gallery of Art, Washington).

Giorgio Agamben writes:

To some extent we all come to terms with Genius, with what resides in us but does not belong to us. Each person’s character is engendered by the way he attempts to turn away from Genius, to flee from him. Genius, to the extent that he has been avoid­ed and left unexpressed, inscribes a grimace on Ego’s face. An author’s style — like the grace displayed by any creature­ — depends less on his genius than on the part of him that is deprived of genius, his character. That is why when we love someone we actually love neither his genius nor his character (and even less his ego) but his special manner of evading both of these poles, his rapid back-and-forth between genius and character.


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