October 20th, 2014

Hey, JJ! I can't remember if you've answered this before: what do you think Santana is referring to when she says she's made a terrible mistake? The break-up? Or something else? Thanks, Hon! Bai! <3, mcm
Asketh - mad-cow-mama

Hey, MCM!

I’ve always interpreted that line as Santana saying that she’s made a huge mistake in thinking she can run away from her problems in New York forever—hence why she then shows Brittany the return tickets for their trip and asks Brittany to move in with her.

The way I read it, Santana was trying to be cute about the reveal—i.e., she probably had a little speech planned or something—but then Brittany’s panic threw her off, so she had to recalculate and cut to the chase faster. 

The day Santana Lopez can get through one of her ridiculous rehearsed speeches to Brittany Pierce without having to move off-script will be quite a day indeed.

I don’t think Santana meant to reference the breakup at all. She just wanted to lead into asking Brittany to move in with her, and, in her typically inept, mousy way, she futzed it up.

But all’s well that ends well, right?

Thanks for the question, darlin’!


(Source: unepetitecourge)

October 19th, 2014

(Source: felison)

October 18th, 2014

re: the epilogue couple, i saw that answer, but as a follow-up, you mentioned it would be very difficult for nomadic couples (like those working for a traveling circus) since their marital status would change from state to state, and might endanger their very persons depending on the area. how do they handle that challenge? (i don't mind if you don't have or want to supply an answer, but i suspect you have one, given your penchant for in-depth universe creation. ;) )
Asketh - ehekic

For those of you just joining us, ehekic asked me about the answer I gave to the following question, posted in the TKTD FAQ:

"I’m not saying that Brittana do survive the fire and are the couple in the epilogue, but if they did and they are, how could they get married? Isn’t interracial marriage illegal in their time?"

In my response on the FAQ, I mentioned that while there were some U.S. states that allowed for interracial marriage between 1898 and 1920, the year in which the TKTD epilogue takes place, life would have been dangerous for a nomadic, obviously interracial couple traveling across America during those times.

Now ehekic has posed the question of how a nomadic, interracial married couple, like the one in the TKTD epilogue, might cope with that danger.

If you’re in for some jabbering, I placed my response under the cut.

Read More

I need a woman who’ll take a chance,
On a love that burns hot enough to last.

(Source: edyferrone, via edyferrone)

October 17th, 2014
October 15th, 2014



(Source: hemotv, via gleerant)

October 14th, 2014

What made you pick the year 1898 for TKTD?
Asketh - lingeringlilies

Hey, Lily!

The short answer?

Because of the kairos of the year.

The long answer?

Joyce Carol Oates has said, “I think most works of historical fiction are about the time that they are supposedly about, but they’re also about the time in which they were written.”

In many ways, 1898 is a year not dissimilar in character and context to our own 2014.

Both years are replete with issues of race, sex, class, gender and sexual normativity; obsessed with definition and classification; confused about what is right because it is right and what is “right” only because it is convention.

Beyond presenting the opportunity for parallelism, 1898 worked so well as a temporal setting for TKTD because it fulfilled so many of the story’s narrative needs. 

I needed to set TKTD in the age when the small, family-owned traveling circus was dying out in America. I needed to set TKTD in a time when the American public was extremely xenophobic, especially toward Hispanic and Latino persons. I needed to set TKTD at a time of economic depression. I needed to set TKTD before women’s suffrage, before the U.S. Civil Rights Movement, and before the American public at large had developed a vocabulary for talking about and even consciousness of homosexuality (and especially among women). I needed to set TKTD in an in-between period, when the tensions following the U.S. Civil War were still high but optimism for the new century also flourished.

I couldn’t have written Brittany and Santana as they appear in TKTD without their society and culture being what it was, situated on that strange limens between the nineteenth and twentieth centuries.

So much of the story itself is about liminality, after all.

Of course, the ultimate reason why I chose 1898 rather than 1897 or 1899 or 1900 was because it was the year in which the Spanish-American War took place, and the Spanish-American War plays a large role in the events of ACMCD and therefore also in the events of TKTD. In a roundabout way, the start of the Spanish-American War is the “springboard event” that eventually brings Santana to the circus.

Anyway, I’ve jabbered a lot now.

Thanks for the question!

October 13th, 2014

(Source: heathsmorris)

October 12th, 2014

Best of Glee:
S02E20 Prom Queen

(via gleerant)