And here is a side by side that makes me so ridiculously happy. LOOK AT MY GIRLS! 🥺💞✨ I can’t wait for you to get to know young Bitter, this brilliant queer bby figuring out her place in the revolution through her art ❤️🔥 #Bitter🎨 #TheLucilleDuology
We LOVED Pet over here at Waterstones Leeds! If you’re anything like our overexcited Children’s Booksellers, you’ll rush through the front door this morning to get in that pre-order for Pet’s prequel, Bitter! 🎨🖌
Eh, that’s a separate thread. I do appreciate when these literary spaces make it clear where their allegiance lies, like to the tokens of empire, certainly not to the most vulnerable members of their communities.
Can’t wait for us to burn this all down, tbh 🔥🔥🔥
I know it’s obvious to a lot of people that institutions are inevitably violent and will reward the tools of their violence. I agree that we should bend our own worlds into being because this one wants us dead. I’m still wondering how to have a career in a space this hostile.
Like I said in November last year—“I know nothing will happen to her because this world and the publishing industry value her more than the lives or wellbeing of trans people, which is something she knows as well.”
Imagine what the industry is like for Black trans people who cannot even expect support from Black literary spaces.
To platform and award someone as blatantly transphobic as this woman after her actions this year is deliberate.
In 2017, Michaela Coel turned down Netflix's $1 million offer for "I May Destroy You" because they wouldn’t allow her to retain any percentage of the copyright. Tonight, she won an Emmy for Best Writing (Limited Series):
I told a friend about this yesterday and they were like “yeah you told me” and I was like no I told you about the TWO OTHER BOOKS they’re publishing next year this is the THIRD yelling harder all the time in joy and gratitude to share at least a few worlds with @azemezi