Transcript:

Hello friends. I wanted to write a blog post about sweetweird and its relationship to hopepunk and other narrative aesthetics, we’ll call them, because they’re not exactly genres. But I am having some peripheral neuropathy today. And so I’m giving my wrists a break, and I’m gonna just record a podcast and then I’m going to upload the transcript with it so it’ll be effectively a blog post.

So sweetweird. Sweetweird, in case you are not constantly on the science fiction and fantasy internet as some of us are, is a term coined by Charlie Jane Anders. She first coined it in her book. I think it’s called Never Say You Can’t Survive and it’s like half-memoir, half-writing craft book, and she proposed it as an alternative to grimdark. So in case you’re not familiar with grimdark, it is fantasy or science fiction that’s set in a really hopeless, gritty world, and the most commonly thrown around examples are the are the Game of Thrones TV series/the Song of Ice and Fire books, or what I think is an even better example, The Blade Itself. So there’s really no one redeemable in those stories.They are fantasy stories without real heroes. When there are people who seem to be heroic like Jon Snow, things go badly for them. The general sense is that the world is terrible, and it’s just gonna stay terrible, but let’s read about some interesting happenings. Grimdark was fine.

Until 2016, when a lot of people started to feel that things went very badly, myself included. And so from 2016 to 2019, there was a bit of a shift that author Alexandra Rowland noticed and they called this shift hopepunk. Hopepunk is stories, especially fantasy and science fiction, but a lot of people have offered other examples, where the world is terrible, and it’s not going to ever be fixed 100% but it is worth fighting to do what we can to improve it anyway.

So in addition to being opposed to grimdark, this is also opposed to the idea of noblebright, which is where you get things like Lord of the Rings, where you have some foreordained hero who is guaranteed to save us all and they have a birthright. My easiest go-to example of noblebright is Buffy the Vampire Slayer. Some people would say it’s something else. But Buffy has a destiny. There is an evil. She’s the one girl in all the world chosen to fight it and she consistently defeats it. New evil springs up, but it’s not the sort of ongoing, miserable world that she’s in. It’s that sometimes new evil pops up and that’s just when we happen to be watching her show because it’s probably not as fascinating to some people to watch she and her friends hang out. I would watch that, but not everyone would. And so Buffy is a great example of noblebright.

Angel, which is technically a spin off of Buffy, is a great example of hopepunk and it’s one of the examples Alexandra Rowland gave and it’s one of my favorite examples not just because I love it very much, but also because it sort of is quintessentially about this. In season two of Angel there’s an episode called “Epiphany.” And there’s a great quote from it, written by Tim Minear who is one of my favorite writers and himself, I would argue, a pretty hopepunk kind of guy, based on what we know about him from his writing, which is all we can know really. He also wrote the show Terriers, which I would argue is also hopepunk. So check that out. But the quote is,

“I guess if there’s no great glorious end to all this, if nothing we do matters, then all that matters is what we do.”

That is as mission statementy for Angel as you can get. And it is the most hopepunk arrangement of words I think you can have and you see it going on through season two of Angel all the way up to the very last moments of season five when it’s very clear that these heroes are fighting a war that they cannot win. And they do it anyway. And there’s a great moment and a great quote there that I don’t want to spoil in case you’re a person who hasn’t watched Angel, but the world around them is horrid. It’s never going to get 100% better. The forces they face are not readily defeated. They keep coming back. They’re not like Buffy where new evil comes. It’s the same old thing coming back over and over again. And so that’s hopepunk, in a nutshell basically, I think is Angel.

So sweetweird. Charlie Jane Anders offers as a different response to grimdark and alternative to noblebright and a lot of people myself included at first were like, “Wait, don’t we already have hopepunk for this?” but then as I learned more about it, I saw that they are related, sweetweird and hopepunk. I call them cousins, but they’re not identical. And the quick way I like to say this is that hopepunk is global. And sweetweird is local. So in hopepun,k you live in a hellscape and every day you muster your energy and you go out and you fight the bad of the world. And you just keep doing it because it’s worth doing. And I think from 2016 to 2019, that was a storytelling mode that we really needed. Because it felt like all right, we can do this. We’re going to have to fight it every step of the way. And it will keep coming back. But we can do that we can improve the world at least a little bit by doing that. And even into 2020 hopepunk was really something that seemed good.

But now it’s 2022 and I would say I don’t know about y’all, but I do know about y’all. We’re all exhausted. We live in the hellscape and it’s hard and it doesn’t always feel like we can make a difference. It feels like the places where we can make a difference are small. Sweetweird is an alternate way of approaching the hellscape. So the little phrase that I’m very pleased with myself for coming up with in the comments on Gwenda Bond’s newsletter about sweetweird, is that sweetweird is about the idea that even within a hellscape you can create a haven.

I think the best example of this is The Owl House and I’m gonna go to that in a minute. But just a quick shout out to The Book of Mormon which posited this in its big finale way back in 2011 with the idea that we can make this our paradise planet. And you know, that does sound bigger than sweetweird, but the idea I think is still there. So The Owl House is not the only example Charlie Jane Anders offers. She suggests many trends, especially in animation. I haven’t seen all of them. I am a little familiar with Steven Universe and Adventure Time and I’ve watched all of the Netflix She-Ra and I think those are sort of stepping stones on the path but that The Owl House, which I also have not seen all of but have seen enough of to have a sense of its vibe, is sort of the perfected sweetweird.

So in The Owl House, Luz, a middle-school-aged, I believe, girl longs to live in a fantasy world and just so happens to find herself in one instead of ending up at summer camp like her mom had planned for her. And immediately she’s very excited because she’s met a real witch and there’s this great moment in the pilot where they leave the witch’s house and Luz sees this fantasy world she’s ended up in for the first time and the place is called the Boiling Isles. And it is miserable. It is a literal visual hellscape. It looks like a terrible place to be. There are a lot of bad things happening there all the time. It’s a harsh and unfriendly world. But Luz and Eda the Owl Lady, the witch that she works with, and King the tiny, adorable — it’s not actually cat but a lot of ways feels like a cat to me — creature bent on world dominatio,n and then Luz’s school friends, and then over time Luz’s frenemy/love interest Amity, all build this sort of cocoon of love together. I would say that sounds more lurid than I meant it, but they create this group of people who all love and care for each other in the middle of the hellscape and they’re not trying to turn the Boiling Isles into not-a-hellscape. The Boiling Isles are a hellscape. It’s where they’re at. And so they are creating their own place here.

And so for me, the thing that makes the most sense with sweetweird in our current moment is that sweetweird is the story we need when we’re too exhausted for hopepunk. When we need time to recover and to remember that we are people who can do things. But we’re not ready to go out and be the people doing those things in the face of the horrible world we live in. Then we can retreat to these spaces of love that we have built for ourselves. And so that’s sort of the purpose in my mind of sweetweird and the distinction between sweetweird and hopepunk as a visual aesthetic.

A lot of the examples of sweetweird are a very specific vibe that is not one that resonates with me though I’m very happy so many people have found them resonant — specifically, Adventure Time and Steven Universe and The Owl House. But I have lately been into woodland goth which is a whole other blog post but I think can be related. Except there’s you know ominous fairies and stuff. But but still this idea at least in the book I just read, War for the Oaks, which is basically one of the first books to ever be an urban fantasy, even in the face of a giant fairy war, the main character Eddi builds a little band of people who all play together, and their music is related to fairy and to magic, but it also is its own thing and the connections they build with one another stand independent of that big fairy war. So it’s a similar idea, though the book itself is not sweetweird.

All right. That was a lot more than I realized I had to say and I’m super glad I said it out loud instead of typing it. I will post the raw transcript with this with maybe a few corrections because it seems Otter.ai does really not understand hopepunk as a word but yeah, that’s that. I hope you have enjoyed listening to and/or reading this and I hope if sweetweird sounds like the story aesthetic for you that you go out and enjoy a lot of it. Bye

This transcript was generated by otter.ai

Hello, friends. I want to talk about something from Stranger Things 4 that is brilliantly done. And that’s a Star Wars reference.

There are a lot of iconic quotes from Star Wars (and I mean the whole shebang, not just A New Hope). “Use the force, Luke.” “Luke, I am your father.” “I love you.” “I know.” “Do or do not. There is no try.”

People use these to varying effect, with varying degrees of acknowledgement. Sometimes it’s hackneyed, though I can’t think of any examples right now.

Sometimes it’s brilliantly used to reveal character, like in 30 Rock:

Liz says, “I love you,” Criss says, “I know,” Liz says, “You Solo’d me,” and then you’re certain that this is a love that will last.

But in this case, not only is this a Star Wars reference, it is a Star Wars reference that is then diegetically marked as a Star Wars reference.

Star Wars is 45 years old. It’s hard to make a Star Wars reference feel fresh. But Stranger Things 4 does, and here’s how (spoilers!):

This beautifully mimics this scene from The Empire Strikes Back:

The 20-to-1 odds of rolling a 20 on a 20-sided die make it line up extra beautifully with Han Solo’s odds of 3,720-to-1.

“Never tell me the odds” is something that most Star Wars fans will recognize as a reference, but in Star Wars it isn’t said with the gravity of so many of those other commonly known phrases. It’s something that people who like Star Wars okay, or are dimly aware of it, aren’t super likely to recognize. And it’s something that doesn’t take you out of the flow of the scene in Stranger Things. We’re not stopping the action to make a Star Wars reference: we’re making a Star Wars reference in much the way actual D&D players do, in the context of the actions surrounding the game.

I think this is probably now my favorite use of a Star Wars reference. Sorry, 30 Rock.

The chat runs by much too quickly to scroll with it while presenting but I love the vibrance of #FanLIS2022 chat so I wanted to go through and respond to people’s comments from my presentation, in addition to answering direct questions. So here we go!

procrastination and indecision then instantaneous dissertation topic is such an adhd mood

I’m not diagnosed, but you’re not wrong.

embodied fannishness

YES. More studies on how fans express their fandom with their bodies, please.

I’m kind of curious to see how many Cosplayers base their information process on others'.

This is a great question. I only got at individual practices and how others’ shared resources are an influence, not shared process, but I did have 2 participants collaborating on an epic Yuri On Ice wedding cosplay who used similar curation methods. I wonder if groups that frequently collaborate have more commonalities in their information practices.

I feel there is some modesty that comes with cosplayers and that would refrain them to define as creators

I think that’s right. They don’t necessarily identify as creators, though I did have 2 participants refer to themselves as “makers.” But whether they’d use the term or not, the position they put themselves in with both trial-and-error and documentation of their construction processes is information creators.

I was able to recover my Noter Live log, yay! I’ll go back and collect the tweets from after my reboot later.

In reply to Star Trek: Discovery Has Problems (& How They Can Be Fixed) (Trek News) by Bill Smith:

I agree with Smith’s assessment of Discovery. Each season, the stakes are bigger. In Season 4, they were literally extragalactic. Once you’ve broken the galactic barrier and made first contact with a species living beyond it, where else is there to go?

The race to solve the puzzle box is exhausting. The hyperfocus on serialization leads to a lot of intriguing threads being introduced and tied off more quickly than I would like. For example, in Seasons 3 and 4 we saw what looked like they were going to be mental health crises for Detmer (PTSD from the jump into the future), Tilly (depression related to existential crisis), and Culber (burnout). In Detmer’s case, I don’t recall being shown the road to recovery at all. Tilly seemed to have two episodes of feeling bad that were magically fixed by deciding to become an instructor. And Culber I guess just really needed a vacation?

I really enjoy Discovery. In fact, I enjoy it so much that I wish there were more of it so we would have time to devote a whole episode to each of these characters.

I love Michael Burnham. But I also love so much of the rest of her crew. TNG started with a focus on the bridge crew and especially Picard, but opened up to give us time to get to know O’Brien, Barclay, and more. I wish Discovery had the breathing room to do the same.

I especially agree with Smith’s point here:

One of the things that Star Trek: Discovery did exceedingly well in Season 4 was First Contact with Species 10-C, the originators of the Dark Matter Anomaly.

It was its own challenge in unlocking the mystery of the DMA and I thought that aspect was something that the show did really well. It took this concept of seeking out new life and new civilizations and put a 32nd-century spin on it.

Discovery really leaned into that first contact situation hard and it worked. For 56 years, Star Trek has taught us that the unknown isn’t always something to be feared, but we should always strive to understand. There isn’t always a “big bad villain” when the puzzle is assembled or, sometimes, we find out that we are the villain however unintentionally.

These are the types of stories that have always found their way into Star Trek—from Gene Roddenberry’s first script right up to today’s iterations of the franchise. These are Trek’s roots and when Discovery revisits them, it works brilliantly.

Watching everyone work together to make first contact with the 10-C was exhilarating. It had all the delight of Picard figuring out the speech patterns in “Darmok” with an added bonus of getting to see a bunch of different people work together, leveraging each of their specialties to shine. This is foundational Trek stuff and I love when Discovery puts a spin on it.

I hope the writers will go a little softer in Discovery Season 5, giving it room to breathe. I look forward to seeing what they do.

🔖 Read How I Build My Common Place Book (Greg McVerry)

McVerry generously summarizes his workflow:

• Document impetus of thought (often after the fact)

• Collect initial bookmarks
• Ask in networks, bookmark your queries
• Collect research, and block quotes or use social annotations
• Begin to formulate thoughts in random blog posts
• Start to draft the long form thought
• Publish an article on my Domain.

In case it would help other people, here’s how I did it. I would have something that looked like this:

9
00:00:36.900 –> 00:00:40.560
Kimberly Hirsh (she/her): Do you agree to participate in the study and to have the interview audio recorded?

With the help of this guide from Drexel and replies to this Stack Overflow post I now can remove the number, the timestamp, and the two extra lines created when I remove those. Here’s how I do it.

1. Open the VTT file in my advanced text editor.
2. Use the find and replace feature.
3. For the thing to be replaced I use the regular expression ^[(\d|\n)].*$. You don’t need to know what a regular expression is. Just copy and paste that little code bit into the “Find” box.
4. Make sure either “Regular expression” or “GREP” is selected.
5. Click “Replace” to test it once and be sure if it works.
6. If it works, click “Replace all.”

For BBEdit:

7. Paste ^\s*?\r in the “Find” box.
8. Make sure the replace box is empty.
9. Repeat steps 5 and 6.

For Notepad++: 7. Then switch so that “Extended” is selected instead of “Regular expression” or “GREP.” 8. Paste \r\n\r\n in the “Find” box. 9. Put a single space in the replace box. 10. Repeat steps 5 and 6.

I hope this is helpful!

Josh Radnor writes a beautiful newsletter. It always feels like a gift. Here are some gems from the latest issue - italics are emphasis from the original, bold are mine.

There are no unwounded people. Wounding and trauma are features and facts of being a human being.

Why is it that I’m convinced my life should be linear and predictable, devoid of obstacle, conflict, and challenge, the very elements that make a story engaging and worth telling? Don’t I want to live a great story?

Nothing is the heaven or hell I want to make it out to be.

As I mentioned earlier, I defended my dissertation a year and a week ago. It was a joyous defense, with my committee cosplaying and my friends and family able to attend via Zoom. My BFFs were there, plus lots of people I’ve met online. It was amazing and fun and at the end of it I was WIPED OUT.

Exactly one year ago today, I spent about 10 hours formatting my dissertation so I could graduate. That was not my favorite part.

Some people leave their PhD with a job in hand, whether in academia or industry. Other people, people like me, have no idea what comes next.

What came next for me involved a lot of sleep.

But there was other stuff, too!

A lot of the past year has been focused on parenting stuff, as my kid switched from remote preschool to F2F preschool. A lot of it has involved managing my health, trying different interventions and seeing what felt doable.

I’ve done some work for Quirkos, including writing two blog posts. I really enjoyed that work. I like figuring out what to say, how to say it, and how to make it meet a client’s needs. Content writing/marketing is on the table as a bigger potential stream of income for me in the future, and I like that.

I’ve done a bit of sewing: I made napkins, a blanket, and a pillow. I have fabric ready for making a maxi skirt. I love sewing, but it always feels like a bit of a production to set up. It’s not! It’s actually fast and easy! But it feels like it is, which means I don’t do it as often as I’d like.

I completed W’s application for Public Service Loan Forgiveness and consolidated my loans so I can start that process, too.

I applied for some jobs, not a ton, but maybe close to 10? I wasn’t scattershot: I picked out particular organizations I wanted to work for (like NoveList) or industries I wanted to work in (ed tech, libraries). I had meetings about three potential freelancing gigs but none of them panned out and that was fine.

I spent all of last summer as a Pool Mom, which was amazing: I would take M to the pool first thing in the morning for swim lessons and then he and I would just hang in the water for an hour or two. I loved it.

I presented at MIRA, ALISE, World View, Micro Camp, and FSN NA.

I got caught up on Star Trek: Lower Decks and Discovery. (That reminds me, new Picard today, yay!)

I participated in Micro.blog writer and reader groups sometimes, as well as continuing my participation with the Creative Adventurers community via Discord video chats (something else to look forward to today!).

I got vaccinated.

I got consultations about our broken driveway and eventually went with the choice suggested by our arborist: having Will use a sledgehammer to smash up the parts that were sticking up. This saved us thousands of dollars in driveway refinishing. I had consultations and scheduled work with the arborist and the electrician.

I had lunch with friends.

I let a lot of things go in all different areas of my life.

And I got my dream postdoc, which is huge and made me feel that the not-having-a-plan thing was worth it because I wouldn’t have been available to apply to this postdoc otherwise.

I know that’s just a chronicling of what I did, but I needed that before I could really reflect.

Life isn’t super different aside from the not-working-on-a-dissertation part. I don’t feel different. I do get confused whenever someone calls me Dr. Hirsh.

My postdoc is for one year with the possibility (dare I say expectation?) of a one-year renewal. I have no idea what I’ll be up to come January 2024. I’m privileged to be able to say that that’s okay.

So what’s life like, having been a doctor for a year? The biggest difference is that because I hadn’t been immersed in research from last April through December, I have to go back now and review my notes on earlier processes more when I need to do a technique I’ve done before.

If you make a purchase through a link in this post, I may earn a commission.

Do you wish Dan Brown books were sexy and full of pop culture references? Do you like your religious artifact stories with comedy and kissing? Have I got the books for you!

Gwenda Bond’s books are always The Most Fun and her madcap fantasy romance duology is no exception.

First up, NOT YOUR AVERAGE HOT GUY:

Callie is a recentish college grad with no particular direction in life but a great love of books, learning, and creepy religious lore. She also works at her mom’s escape room. When Callie designs an immersive culty room and puts a book in it that is ACTUALLY an arcane artifact, cultists come to claim it and try to use it to release a demon on earth to bring about the end times. But instead they summon Luke, the super sexy prince of Hell. Wackiness ensues as Callie and Luke must team up to find the Holy Lance (that’s the Spear of Destiny for you The Librarian fans) and keep it from the cultists (who don’t actually know that Luke isn’t the demon they were trying to summon). To do so, they travel through painful demon magic, bopping around the world in a way that would make an Indiana Jones map look like Charlie Kelly’s conspiracy board:

Because you know how romance works, you know that they figure it out and get a Happy For Now. It’s important that it’s a HFN because a Happily Ever After wouldn’t leave room for the sequel:

THE DATE FROM HELL

Callie and Luke are happily dating now and they have an amazing date planned. But they also have a bit of a revolution planned: Callie wants to petition Lucifer to reconsider the damnation of people like Agnes, a 12-year-old girl who really probably should not have been sent to hell and certainly isn’t an adult by modern standards. Lucifer agrees to a meeting — on the day Callie and Luke are scheduled to have their big date. Which also happens to be the same day Callie is supposed to be helping her mom with a big escape room event to raise the money to make repairs after the mess she and Luke got into in NOT YOUR AVERAGE HOT GUY. Lucifer says that Callie and Luke have 72 hours to prove that they can redeem someone who deserves to be released from hell. The person he chooses is Sean, a lost-Hemsworth-brother-type/international art thief who oh, by the way, is a Grail seeker. More wacky hijinks ensue, more traveling by map, and more Arthuriana than you can shake Excalibur at. (Excalibur isn’t in the book to my recollection, by the way.) I briefly found myself thinking for a moment, “How wild is all this Arthuriana just happening in Callie’s real life?” before remembering that OH YEAH HER BOYFRIEND IS THE PRINCE OF HELL.

Because it’s a romance, it ends with a tidy Happily Ever After (leaving Gwenda free to work on other romances like MR. & MRS. WITCH). Callie figures a lot of stuff out, so does Luke, and they get to be together, yay. (And if you consider that a spoiler, romance probably isn’t the genre for you.)

What I loved

So many things! But here’s a partial list:

• The meticulous attention to detail with respect to all the mystical artifacts
• Callie’s supreme nerdiness
• Detailed Escape Room stuff
• Pop culture references aplenty (Wondering if you share Callie’s opinion on Season 4 of Veronica Mars? Read THE DATE FROM HELL to find out!)
• The love that radiates from Luke whenever Callie Callies all over the place - seriously, I haven’t read this much warmth in a romance novel since I don’t know when (because warmth is different than heat)
• Lilith. I just love her, okay?
• Porsoth, a polite Owl Pig Demon who is a bit stuffy but can get scary when necessary
• The affection Callie has from her mom, her brother Jared, and her bff Mag (who uses they/them pronouns and nobody ever makes it a thing)
• What Gwenda does with Arthur and Guinevere, can’t say more or it’ll spoil you but big ONCE AND FUTURE graphic novel vibes

I can’t think of them all. If this isn’t a ringing endorsement, I don’t know what is: My whole family is going through a rough time right now and it makes it hard for me to immerse myself in a book. I would often read a chunk of THE DATE FROM HELL and then step away from it for a few days, but I ALWAYS CAME BACK. There are a lot of non-mandatory things I’m abandoning in life right now, but this book kept me returning.

What I need to warn you about

I really can’t think of much. I guess if you don’t like people being playful in stories about holy artifacts maybe skip these?

What I wanted more of

I can’t think of anything here either. Everything was exactly what it needed to be.

Who should read this

People who like Indiana Jones AND Sabrina (the Harrison Ford version). People who don’t know what to do with themselves and want to see somebody who also doesn’t know what to do with themself succeed at stuff. People who want a romance that is hot but not explicit. People who wished their were more badasses who were badass for reasons other than their ability to engage in combat (Callie is a badass and no one will convince me otherwise). People who need more fun in their lives.

Highly recommend.

Book: Not Your Average Hot Guy
Author: Gwenda Bond
Publisher: St. Martin’s Press
Publication Date: October 5, 2021
Pages: 320
Age Range: Adult
Source of Book: Library Book

Book: The Date from Hell
Author: Gwenda Bond
Publisher: St. Martin’s Press
Publication Date: April 5, 2022
Pages: 336
Age Range: Adult
Source of Book: ARC via NetGalley